On the opening day Baljit Chadha, J.P. Singh, Alka Raghuvanshi, Victor Vijay Kumar, Daniel Joseph, Sharmista Dutta and Umesh were present. During the occasion Gallery Director Mr. Baljit Chadha said, in this exhibition we have brought together the collection of different artists the paintings are selected keeping in mind the title of this exhibition so that when people see the paintings only one expression should come out "It's Fabulous... It's Mind Blowing..."

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Emami Chisel Art Auction House is a joint venture between the Rs 1,500-crore turnover personal health care major Emami Group and Chisel Crafts, the parent company of the Kolkata-based Aakriti Art Gallery. Emami Chisel Art now announces its second auction on ‘Indian Contemporary and Modern Art’ to be held on November 8, 2008 in Kolkata. The auction is tipped to have a spread of about 90-100 lots covering modern and contemporary artists.

Says Vikram Bachhawat, Director, Emami Chisel Art: “I am participating in the Art Summit to give exposure to new artists to the international visitors while also hoping to widen my own knowledge base about various artists from other locations.”

What’s interesting is that while art galleries are viewing the Summit as a means to spread awareness, auction house Emami Chisel Art is hoping to use this platform to attract bidders who would like to participatein their upcoming November auction.

The online bidding commences from the November 3, 2008 and continue till the hammer finally comes down on November 8, 2008. Interested bidders can collect registration forms from the ECA stall during the Art Summit. These registration forms will provide an opportunity to ECA to identify a bidder and tabulate the bidder’s relevant details before the auction commences.

ECA is accepting works of artists of Indian origin including paintings, sculptures, drawings etc. from galleries, private collectors & artists. Works that have not been shown in any auction for the last five years will be eligible for inclusion. All the selected works will be uploaded tothe website www.emamichisel.com. The last date for submitting consignments is September 5, 2008. A panel of experts will select the works and once the selection process is over, the consigner will be informed accordingly. Like the last auction, ECA expects to draw attention of collectors by offering rare and important works by Contemporary and Modern masters.

Adds Vikram Bachhawat, Director, Emami Chisel Art: “There is a big need within the art community to understand the difficulties faced by this growing trade, there are many issues related to fakes, interstate trading etc, which needs to be sorted out and it can only happen if trade is united and there are more summits across the country. Moreover acollector gets chance to see works displayed by galleries from all over the country, each gallery has their own set of artists who they promote and each visiting gallery will get the best of the available works from the area they belong. It will be afeast for the eyes as there will be a large selection of visual art under one roof. ECA will take this opportunity to highlight their future auctions and will use it as a platform to build long-term relationship with connoisseurs and art dealers.”

Focusing on Indian Modern and Contemporary Art, the forthcoming November auction will include some rare and significant works of art by many major artists like Satish Gujral, J Swaminathan, Ganesh Pyne, F. N. Souza, Arpita Singh, Chintan Upadhyay, M. F. Husain, Ganesh Pyne, Jitish Kallat, Reena Kallat, Sakti Burman, Bikash Bhattacharya, Jayashree Chakraborty, S. H. Raza and Shibu Natesan. All the works for the auction will be selected by a panel of experts for their value, authenticity and auction viability. The authenticity and value of the works will be endorsed by the artists if he or she is living. Paintings by those who have passed away will be certified by experts on the concerned artist.

If bidding at the auction seems out of reach, don’t despair. Emami Chisel Art will also put up significant artworks for sale. Works of artists from Bengal school like Bikash Bhattacharjee, Paritosh Sen, Ganesh Pyne, Satish Gujral, Kartick Chandra Pyne, Somenath Hore and K.G. Subramanyan will be sold during the Art Summit at the ECA stall.

So, this is your chance to either bid for or to buy the artwork you always craved for, at Emami Chisel Art’s stall in the India Art Summit!

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For media enquiries: Pl contact Poonam Goel @ 9811143131 or Persona @ 41552945-8

Says Ashish Anand, Director, Delhi Art Gallery: “Widely known as the ‘renaissance man’ of the Indian art, P. Khemraj focused on creating ‘lasting art’. He had given a new dimension to modern art with his colourful and often mind-boggling depiction of the female form that reflected sensuality and extravagant view of life at large in his artworks.”

Art critic Keshav Malik says: “He would invite cognition of creative interplay of different forms of artistic activity, brought about by his usual re-reading of his poems, avid strumming of musical instruments and formulate a visual cosmos in his canvas. His creativity represented a play.”

Says curator Roobina Karode: “The exhibition showcases his mural sized works on combined boards and early canvases as well as his delicate linear drawings swiftly moving on the surface with fluid grace. His series fluttering with hearts is full of youthful exuberance and confesses his love for life.”

Born in 1934 to a big Gujarati family settled in Bombay, Khemraj grew up in an environment where art and music were an integral part. As a child he would day-dream of becoming a painter if not a musician, and someday travel to Paris – the Mecca of Modern Art. In 1952, he joined the J.J. School of Art in Bombay under the tutelage of Professor K.S. Kulkarni. His love for music was so strong that he was motivated to leave Bombay in 1958 after graduating and settle in Delhi, to learn playing sitar from Pandit Ravi Shankar. The tight schedule of the icon eventually forced him to seek a job as an artist in a commercial studio but, it never deterred him from pursuing the sargams on sarod and violin. Years after he had made his life as an artist of eminence, he would diligently do his riyaaz and any joyous occasion was to be marked with music.

The artist’s childhood dream of traveling to Paris came true when he was awarded the French Government scholarship in 1962, which enabled him to study at the Ecole Nationale des Superior des Beaux Arts and then at Atelier 17. His art was shaped by teachers like Stanley William Hayter who is regarded as the father of contemporary printmaking and Krishna Reddy who is the first person to devise the process of obtaining multi- coloured prints. His art was further influenced by many a Cubist, Impressionist, and Expressionist and Surrealist masters.

Delhi, with several galleries such as the National Gallery of Modern Art, the Lalit Kala Akademi, the Garhi studios, the Triveni Kala Sangam, the Crafts Museum, nurtured the native talent of the sensitive artist in Khemraj. Therefore, when he returned from Paris in 1966, he gravitated to Delhi which became his home although every two or three years he would visit Bombay which attracted artists from everywhere - Calcutta, Madras, Delhi - as the capital market for art.

For any Indian artist living in Europe for any length of time during his or her youth, it is impossible to ignore the rich possibilities of artistic expression in stained glass. Khemraj was no exception. Especially noteworthy is his use of luminous colours ranging through ultra – marine, indigo, orange colours that are not commonly found in nature. While talking about his powerful lines cutting across the paper or canvas, on close view, one can find the lines to be delicate with minute fluid shadows found as if in droplets of water under a microscope.

In an essay A Toast to Bliss, Kolkata art critic Ratnottama Sengupta has emphasized on Khem’s artistic journey and influences which brought about the various changes in his art practices, giving birth to series like Charpai, Hatheli, Prithvi, Heart and a series of powerful drawings entitled Singing Lines. She says, “Khemraj represents the harmonious fusion of ‘virginity and virility’ through a sensuous simplicity and passion.” In her essay, she has zoomed on another aspect of the artist which is - “Khem seemed to depict deep empathy for the damaged environment which gave birth to Asha Hans, where he paints the vision of a paradise that could be our earth. Dreamy landscapes, painted in subtle colours evoke a paradise that exists in our mind’s eye. The intricately interspread flowers and leaves position nature in a timeless role of a silent observer. The hues of these works are in turquoise along with gold, giving a feel of lyricism and richness which could be associated with the works of Gustav Klimt."

In 1992, concerned about the increasing domination of commercial forces and disillusioned by the mono-cultural, west-oriented trend of the nineties, Khemraj along with three other Asian artists - Lee Kye Song, Hideo Sakata and Yoko Kamijyo initiated an art movement - Lantern of the East. The Lantern group believed that Eastern art, with a different sensibility derived from the distinctive religious and cultural traditions of the Asian region, needed to become a more active force in the contemporary visual art scene and that in doing so, would be a driving force in reshaping the world of contemporary visual art in the 21st century. In that spirit, the founders began, in 1996, an annual international art festival to communicate the spirit of Eastern art to the world.

Says Keshav Malik: “Artists like Khem drop out of the straitjacket of the contemporary society that suffocates them, that denies freedom, wonder and sheer joy. Painting peacocks and flowers in superfluous abandon, Khem indicates his conviction that life is not a trust but a gift to revel in.”

An artist who painted delicate dreams of an idyllic world of lovers, birds and mystical creatures, P. Khemraj passed away in September 2000, but his exhibition will remind us of that delicacy our lives have lost…

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“He who holds the mighty Ganges in his locks,

who is adorned by Parvati on his side,

who burnt Cupid - the ashes for his pride,

he who is the Lord of Kashi; to him we offer our humble prayer.”

Odissi dance performers are judged through the recital of the “Mohana Pallavi” and keeping this in mind, both dancers paid homage to the lyrical, graceful and sculpturestique form of Odissi with seasoned dexterity, elaborating the blooming of a flower “petal by petal”, increasing in beauty and complexity growing in depth, both in music and dance. With extremely graceful and flowing movements both the dancers seem to be swaying with the music becoming one entity. The beauty of the music is given physical form by the dancer’s movements.

Madhushree Dasgupta then continues with a pure Abhinaya from Jayadeva’s Geet Govind “Yahi Madhav” masterfully choreographed by her Guru Mayadhar Raut describing Radha’s anger, grief, shame and sorrow all at the same time when Krishna faces Radha after having spent the night reveling with other Gopies.

Aadya Kaktikar’s rendition of “Dekho Nand Nandan” depicting the Baal Leela of Lord Krishna’s life such as the killing of Putana, lifting of Giri Govardhan among others, prove her coming forward as a seasoned proponent of the Odissi Dance form. These have been skillfully woven together with traditional Odissi bols. This performance is also keeping with the tradition of performing Oriya songs. Aadya’s performance is notable for her strong sense of ‘Taal’, deft footwork, lyrical movements and intense ‘Abhinaya’ while maintaining the purity of the dance form, which is characteristic of Guru Mayadhar Raut’s style.

Starting at a fast pace and ending at a crescendo, the evening ended with a prayer to Durga- the primordial power of nature personifying this aspiration of the dancer/s.

Choreographed by Guru Mayadhar Raut himself, his daughter and Aadya’s guru Madhumita Raut conducted the recital on the Manjira. Shri Prafulla Mangraj was at the Pakhawaj, the violin was played by Shri Afzaal Zahoor and the Sitar by Shri S.A. Alvi. Shri Hari Narayan Dash was at his vocal best in his support.

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About Aadya Kaktikar

Aadya a disciple of Madhumita Raut is emerging as the new face of this ancient dance tradition, is an accomplished Odissi Dancer who has undergone two decades of rigorous training under the able tutelage of Guru Mayadhar Raut and Madhumita Raut at “The Mayadhar Raut School of Odissi Dance” at New Delhi. She has performed extensively as a solo artist since 1992, in a number of festivals and has played a leading role in all of Guruji’s compositions for the last decade. She has played leading roles in productions such as Ritu Basant, Konark), The Geet Govind under the supervision of her Guru – Madhumita Raut. Settled in New Delhi, Aadya is currently engaged in reviving the traditional Odissi dance items and trying to extend the scope of Odissi by experimenting with modern literature.

About Madhushree Dasgupta

Madhushree, a senior disciple of Guru Mayadhar Raut, has been practicing and performing odissi for many years. She has undergone intensive training under Guruji for the last 14 years. Madhushree has previously performed at several prestigious venues. Her abhinaya to both Geeta Govind Ashtapadis and Oriya songs on Guruji’s choreography have been highly appreciated. With her sincere perseverance, Madhushree has steadily come up as a promising Odissi dancer of the Guru Mayadhar Raut style. Madhushree also enjoys teaching this traditional art form to young children. Apart from Guruji’s invaluable guidance, Madhushree has drawn inspiration from Madhumita Raut, who has given her lessons in Odissi from time-to-time.

“Indians are indeed warming up to auction houses on the lines of the international players and our USP lies in the fact that we intend to unearth the potential of not only modern & contemporary Indian art, but also other fine art categories in the southern Indian market by providing an efficient, competitive and trustworthy service to our clients," says Mr. Dadha, Chairman and Managing Director, Bid and Hammer Auctioneers (P) Ltd. Bid and Hammer's total offerings for its upcoming auction, comprising 101 lots, is pegged at around Rs 7 crores.

India has proven to be the fastest growing wealth base in the Asia Pacific region with Bangalore being the third largest centre for high networth individuals. Today, Indian modern & contemporary art is being recognized as a worthy investment option among the nouveau riche both nationally and internationally.

A brainchild of Mr. Maher Dadha, a passionate art connoisseur and former Director of erstwhile ‘Tamil Nadu Dadha Pharmaceuticals Ltd’, Bid & Hammer’s clients are able to take advantage of an auction house offering a wide spectrum of expertise (authentication, provenance, valuation, conservation, restoration, etc) across all major categories of fine and decorative arts and antiques - an arrangement currently unavailable in India.Mr. Maher Dadha is also the Chief Consultant of Dukan - Fine Art & Antiques, a gallery based in Bangalore.

Bid and Hammer plans to hold two more auctions this year with an Antiquarian Books, Maps, Prints & Photography sale slated for September 2008 and a Works of Art & Modern and Contemporary Indian Art sale slated for December 2008.

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About Bid & Hammer

Established in 2006, Bid & Hammer Auctioneers (P) Ltd is India’s first homebred full service art & antiques auction house based out of Bangalore. An initiative of Mr. M. Maher Dadha, Chief Consultant of the well known Bangalore based gallery ‘Dukan- Fine Art & Antiques’, Bid & Hammer’s clients are able to take advantage of a wide spectrum of expertise which includes authentication, provenance, valuation, conservation, restoration etc across all major categories of fine and decorative arts and antiques - varying from modern and contemporary Indian art to furniture & glass to silver , jewellery and photography and a range of other collectables.

The team of patrons & experts comprises H.H Nawab Mohammed Ali (Prince of Arcot), Dr. Mohan Lal Nigam (former Director of Salar-Jung Museum), Savita Apte (formerly head of Sotheby’s South Asian Art Department), Venkat & Madhavi Singh (Dharohar Art Conservation, Lucknow), H.H. Gaj Singh II ( Maharaja of Jodhpur), Charu Sharma (Auctioneer) and Vijay P. Chordia (prominent Chennai based financier) amongst other distinguished personalities.

Shri Paritosh Sen is being conferred the Legends of India Lifetime Achievement Award 2008 for promoting the art of painting as a form of high creativity. A pioneer of the modern art movement in India, Sen has excelled in using the human figure set against a two- dimensional picture plane to express his views on contemporary life. His works have been exhibited in India and internationally. Also a prolific writer, Sen has published many works in both Bengali and English. He is a living legend who has enriched Fine Arts in India.

The presentation of this prestigious award will be followed by the Legends of India Fine Arts Festival “Canvas” to be held from June 27 to July 6, 2008 in Kolkata at the ICCR Gallery (Rabindranath Tagore Center). More than forty eminent artists will showcase their works comprising paintings and sculptures specially created for the occasion.

Smt. Girija Devi and Guru M K Saroja were awarded the Legends of India Lifetime Achievement award for Sangeet by Hon’ble Lt. Governor of Delhi Shri Tejendra Khanna on May 22, 2008 in New Delhi.

The selection committee for the Legends of India Lifetime Achievement award comprises of distinguished personalities namely Shri Soli J Sorabjee, Shri Pawan Verma, Shri Lalit Manshingh, Shri K P Singh Deo, Shri Madhup Mudgal, Smt. Shanta Serbjeet Singh, Dr. Krishna Bisht, Dr. Varsha Das, Shri A Ramachandran, Dr. Yamini Krishnamurthy and Prof. Rupen Guha Majumdar who unanimously decided upon recipients of this year’s award.

The recipients of the Legends of India Lifetime Achievement award in the yester years include some renowned names like Shri Krishen Khanna, Prof. Shankho Choudhury, Smt. Mrinalini Sarabhai, Pt. Birju Maharaj, Shri Buddhadev Dasgupta, Dr. Yamini Krishnamurthy, Smt. Chandralekha and others.

Legends of India is an independent society that has been promoting Indian Art Forms for a decade. The prime objective of this society is to promote and nurture traditional Indian art forms, which in the recent decades is on the verge of fading away.

The year 2008 will be a landmark for Legends of India as we celebrate its 10th Anniversary in synchronization with ICCR. ‘Legends of India’ will be the first National Festival of Indian Art Forms dedicated to the youth which will travel with a host of Legends and upcoming artists through the year across the country.

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About the series

Moonbeams and Sundrops are a series of nearly 30 joyous works that revel in the creative impulse that unfolds in the quietitude of aloneness. Even though painted by two artists, there is a sense of tandem that prevails through the works. They breathe as if in unison and are imbued with the serenity of silence. They create music that comes straight from the soul. The stunning abstract works capture the essence of existence on a myriad level in perfectly balanced aesthetics that energize the space they are placed in. The canvas’ reflect the magnificent metallic jewel colours of the desert and the harmony of the earth’s eternal dance in all its glory as they echo the underlying philosophy of light within lighting up a thousand thoughts.

About the artists

Dr Alka Raghuvanshi is India’s first trained art curator, having trained at the Goldsmiths College, London and the Museum of Modern Art in Oxford. She has curated and designed major exhibitions many of which travelled to other parts of the country and the world. A keen painter herself, her solo shows Whispers of Light were held in New Delhi and Showers of Meteors in Hyderabad drew valued response from both audiences and critics alike. She is able to perceive and experience the various arts from the vantage position of a doer as well as an onlooker.

Born in 1961, Dr Alka Raghuvanshi has participated in several group shows including Transitions held at Art Entrance in Mumbai, Reflections Within at Lalit Kala Akademi, New Delhi, Guernica to Nithari and Buddha Mudra held at Canvas Art Gallery, Art for Concern by the Concern India Foundation, New Delhi, Encore! Art for Prabhat, New Delhi, Annual Show 2007 of Galerie Sara Arakkal, Bangalore, Transitional Realities at FM Art Gallery, Noida, Resounding Echoes, Lalit Kala Akademi, Lucknow, Resonating Metaphors and Dazzling Statements in Lalit Kala Akademi, From the Mind’s Eye, New Delhi, Dhoomimal Art Gallery’s annual art show among others. Her works formed a part of Silent Dreams, Voluble Realities as part of the Gulf Art Fair in Dubai, Recent Works of Gallery 1x1, Dubai, and the Art Attack Gallery annual show in Dubai. Her works have been shown in New Delhi, Mumbai, Hyderabad, Bangalore, Lucknow, Dubai, Turkey, Spain, Italy, Austria and her paintings form part of some important collections both in India and abroad. Her work featured in Adana Biennale in Turkey in December 2007 and the worldwide exhibition on Giuseppe Garibaldi emanating from Italy.

In her writing career on the arts spanning nearly 27 years, she has 20 books to her credit including the best selling publications – A Moment in Time With Legends of Indian Art and Pathfinders – artistes of one world.

Manisha Gawade is a trans national who has been trained in various forms of painting including glass and textiles in several parts of the world as a matter of choice. And yet she refuses to be bound by mere grammar of surfaces and styles to reach out and explore a form that is hers alone. She transcends the regional to bring to her work the horizon of a truly global citizen and yet there is a rootedness in her work that has the whiff of the Indian ethos – not self consciously, but simply and naturally. Her work pulsates with energy that is the life blood of her chosen medium. An extensive traveller, the multiple experiences from her journeys come through in her work as it resounds with hues that are awash with the dazzle of the desert and the pinnacle of the mountains.

Manisha's work was selected to be part of 2006 National Exhibition of Art held by Lalit Kala Akademi, thenational academy of visual artsin India. It was shown at Bharat Bhawan, Bhopal. She has extensively participated in art exhibitions all over the world. In her solo show Parallel Realities held in New Delhi and Hyderabad in 2007, she explored the multi-dimensional aspects of interpersonal interactions cutting across gender lines.The works were marked withan eclectic choice ofcolours and interesting textures that set her work apart.

Pristine golds, reds and blacks mark her present series, she takes abstractions to newer heights. The shimmering golds juxtaposed with fabulous reds offset by the depth of the blacks beckon the onlooker want to walk into the paintings to allow the layers to explode around the physical, spiritual being. Her work forms part of some serious art collections in New Delhi, Mumbai, Hyderabad, Bangalore, Paris, Dubai, Sharjah and Oman.

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All this is now set to change dramatically.

Abiding with it tradition of constant endeavor to provide a delightful shopping experience, the widest range to choose from and the best of products, Himalaya has launched www.babajis.com; India's first comprehensive on-line art supplies store.

Babajis.com provides artists and hobbyists with

• Choice: The Widest range of art materials in India
• Convenience: Purchase from the comfort of your home or studio
• Door-Step Delivery...Anywhere in India
• Highly Informative Website
• Detailed Product Descriptions along with Images
• Easy to navigate and attractively designed website

With the launch of www.babajis.com, Himalaya hopes to make life easier for Indian artists, freeing them from the hassles of traveling distances, battling the traffic and jostling with the crowds, thus leaving them free to focus on what the love the most...their art.

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Pavan Verma, Ashok Vajpayee, Varija Bajaj, Alka Raghuvanshi, Gouri Sahni, Naresh Kapuria, Nupur Kundu, Shovin Bhattacharjee, Subroto Kundu, Shuchi Khanna, Bhaichand Patel, Aruna Vasudev, Rahul-Gunjan (Fashion Designer), Rekha Surya and many others were present there during the opening ceremony of exhibition.

The show has been curated by Delhi based artist Gouri Sahni. According to Gouri, as far back as I can recall I have felt the pain of under priviledged as my own. Thinking in constenation I have craved to be able to do something for them, to be able to provide an attenate life, that they would cherish. Hence, in the past, I have supported them in my own little ways. Today with support of my dear friends, I am ready to set up an NGO titled “AUVSAR”, which will help translate my dream to reality and thereby help me nurture the talent, hidden in every human being and provide a platform which is otherwise tedious to get. Measure for Measure is our first effort in raising funds for AUVSAR. On this occasion Gouri applauded the efforts of Pavan K. Verma, Ashok Vajpayee, Shobha Broota and all her artist friends for their participation and support for the exhibition.

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During opening ceremony Dr. Alka Raghuvanshi, Vinod Nagpal, Victor Vijay Kumar, Baljit Chadha, Pankaj Mohan Agarwal, Dr. Gautam Vohra, Vinod Sharma, Madhumita Puri and P.K. Roy were also present there.

According to Graham Clarke all my etchings are produced entirely by hand using techniques dating back several hundreds years. I use copper plates which have to be shaped, bevelled and polished, then meticulously cleaned with ammonia and whiting.

The plate is "grounded" on a hot place using a mixture of bitumen and beeswax and this acid­proof layer is smoked with tapers to darken it before drawing with the needle on the plate. I prefer not to have too exact an idea of the completed image, but to allow it to grow as I work from the brief drawings and notes in my sketchbooks, and ideas in my head. Small blemishes and errors can be corrected with "stopping out varnish".

To etch the initial 'line' stage of the image, I use "Dutch Mordant" (hydrochloric acid with additions) and usually commit the plate to the acid three or four times, adding or subtracting areas and details as required between each stage. The plate can then be cleaned off and the first proof taken.

Aquatint is employed to achieve areas of tone. Powdered resin is applied in an "aquatint box", the plate gently heated, the resin particles melt and adhere to the copper. Each stage is "stopped out" and etched in nitric acid - usually in about twelve separate stages - sometimes going beyond the expiry of the minute resin particles back to bare metal, and so to "open bite". On occasion, I use open bite in the more direct way. The plate can then be cleaned off and proofed again.

It is likely, and this is normally deliberate, that parts of the image will be far too dark, and four or five stages of scraping, burnishing, and proofing are required before the image is considered finished. Half a dozen more proofs are printed then the plate is "steel faced" to preserve its surface qualities. This in no way affects the image.

The edition can then be printed by Lawrence Jenkins who for many years printed at The Royal Academy. Following the hand printing, I plan, and mix in large quantities, the dozen or so hand applied colours that are used on each image or set of plates. When one example is ready my hand colouristBarbara Thirkell diligently works through the whole edition, taking the utmost care over a period of several months. As soon as the work is ready, I check, title, number, and sign each print, usually in batches of 20 or 30, until the edition is complete. The plate can then be "cancelled" in such a way that further printing would be impossible, thus ensuring the limitation of the edition forever.

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On this occasion Vivek Anand said, the paintings for this exhibition came after a lot of soul-searching and waiting for the ideas that I wanted to depict to gel. After reflecting on the various exhibitions that I have worked on, I found that the idea of vibrations emanating from different sources and their influence on our mind was a good base to try and understand human psyche. If one were to reflect upon the Buddha for instance, he had summed it up with the saying "Karma creates all like an artist, karma composes like a dancer." Keeping this saying in mind, I have tried to portray the circumstances that reflect the emotions that govern us and shape our lives and our future. To do this I had to reflect on the main instrument of our decision-making faculty: the mind.

He says, 'Memoria: The Primordial Dance' is a depiction of the subtle layers of the mind that dictate action. To begin with we have the representation of the all-pervasive non- matter, interpreted in the color black or dark brown or dark blue. Within this is the super-conscious mind depicted in the star-like memory chips that float in the dark container. Surrounding the dancing bodies, in a blaze of color, is the unconscious mind that envelopes them and thereby galvanizes them to action.

According to Vivek, Memoria is a struggle towards clearing my mind from the chaotic mental reactions within modern man and a mindset that is governed by the various informative or persuasive channels that rule modern life. To do this, I have simply divorced myself from the constant and obvious barrage of currents of thought that are daily triggered by the various reactions that surround our daily lives; media, hype and inter-relationship reactions. I have then simply let my mind wander through the basic and primitive emotions that lie in our minds; emotions that life is essentially based on and without which it cannot subsist. The outcome till now is represented in the set of paintings that are on show, and hopefully will be the start of another set that may clear my own mind of its self-inflicted cobwebs, and perhaps lead to a searching of the soul that finally clarifies my mind.

The paintings are in order of precedence: (1) Memoria; duality, (2) Memoria; awakening (3) Memoria ; evolution, (4) Memoria; karma's dance, (5) Memoria; time-pieces, (6) Memoria; duet, (7) Memoria; desire, (8) Memoria; change and (9) Memoria; despair. In my extension to this set of paintings, I want to extend the theme to one of resurgence, within a slightly different set of parameters.

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About Vivek Anand:

Born on June 8, 1950, into the eminent family of creative film-makers of Bombay, Vivek is the younger son of Chetan Anand, eldest brother of Dev and Vijay (Goldie) Anand. His mother the writer Uma Anand comes from a line of distinguished educationists, scholars and writers.

Vivek, after graduating with Honours from St. Stephen's College Delhi, went on to get a degree through the London Polytechnic, UK in 1976, doing a definitive thesis on the world-famous Dutch director Bert Haanstra in Holland. On his return to India, he worked in the field with the late Padma Bhushan Dr. Komal Kothari of Rupayan Sansthan, on several projects in Rajasthan.

In 1982 he accompanied the Exhibition 'Gods of the Byways' with Dr Kothari and E. Alkazi, theatre director and art expert on invitation to the Museum of Modern Art, Oxford to bring Indian traditional Folk art to the UK. Vivek then joined the Indian film industry as cameraman, working in both feature films and TV serials. He aided his father, the late Chetan Anand, in the nationally acclaimed TV series "Param Vir Chakra" as cinematographer and director. He has made several music videos. He has directed the Children's film 'Neel Parbat ke Paar", starring Naseeruddin Shah and his own son Surya Rishi Anand as a child artist.

His exhibition "Divine Element" on Vedanta was a moment of truth for many Delhiites in 2005, and was critically acclaimed. He has recently turned to painting, which for the past decade he had been doing as a personal hobby

His recent Exhibition at the Cymroza Art Gallery, Mumbai, "Mumbai Blues and Genetic Flight" caught the attention of the art world. Vivek's works, both photographs and painting, are represented in many private collections in India and abroad.

An initiative of Arun Bhan of Ireland, Rakesh Thapar, Managing Director Barter 4 You & Brandsmith, the art show was inaugurated by Peruvian Ambassador Carlos Yrigoyen & noted artist Ram Kumar.

The Indian art market has witnessed a growth like never before and the market is growing at a whopping 30%. and will continue to do so with the growing trend of the Indian Economy. “Bengal Masters are still under-valued and this is the right time to invest. Once a painting is fully valued it takes quite some while to see your stocks appreciate in terms of money," said Art consultant and Curator Kamal Rustomjee.

Top corporate honchos, diplomats, artists & art lovers attended inauguration of this art show.

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huesdays feature a unique group of artists each month, from varying schools of aesthetics and artistic sensibilities. Now in its third month, Suman Roy’s Christs, Neeraj Bakshi’s water colours on paper, K Jagjit Singh’s mountainscapes and Yati Jaiswal’s futuristic masterpieces have drawn some of art’s greatest patrons to huesday.

Shovin Bhattacharjee, a native of Shillong and alumnus of Assam University’s Fine Arts Department will display his urban futuristic figurative works with a focus on architectural edifices and their effects on a deteriorating world order. Bikash Poddar, a gold medalist from the College of Art and Craft, Kolkata will display his popular semi-wash landscapes of water-colours on paper with their disarming aura of charm. The works of both artists have shown exponential critical & financial appreciation in art markets worldwide.

Huesdaymarch will be held at Oneness Centre, 4 Tilak Marg, New Delhi from Thursday, 27 March to the following Sunday. A detailed compendium on the life & works of Bhattacharjee and Poddar will also be released, with literary contributions by art critics Suneet Chopra and Johny ML.

Kingfisher First will reprise its role as title sponsor with Chantilli as beverage sponsors to round off the class act that huesdaymarch promises to be.

The huesdaymarch exhibit will remain on view at Oneness Centre, 4 Tilak Marg, New Delhi from March 27 to March 30, 2008.

The exhibition will continue thereafter on huesday.com.

Huesday, art, art exhibition, water color, modern art, New Delhi

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The growing acclaim & popularity of Indian Art in recent years has made avid connoisseurs of many. From those who swear by their Picassos, those who seek the perfect focal point for their homes, to savvy investors, Indian Art has the appeal & versatility for every pallet.

The Times Group is an expert on the Indian people. With an ear to the ground, we excel at understanding your interests and anticipating the latest trends in every facet of Indian life. With the renaissance and revival of Indian art, Indiatimes.com, the country’s largest portal and flagship brand of Times Internet Ltd (TIL), launched its online art initiative to give a fillip to Indian Art by providing a consolidated platform for emerging and established artists, to get the right appreciation and value for their works. Art.Indiatimes.Com has revolutionized the Indian art industry and has helped transcend borders whereby art lovers can patronize Indian art from anywhere in the world. Our renowned panel of art experts review, critique & demystify every work of art that is up for sale on Art.Indiatimes.Com. This panel is also instrumental in selecting emerging artists and their works from across the country.

If you are a novice at buying art, this is the perfect place to start. Just log on to Art.Indiatimes.Com and browse through our handpicked list of the best works and potentially lucrative investments. If you like what you see, you can also read expert reviews & in-depth artist profiles. Also, every work of art you buy from Indiatimes Art comes with a Certificate of Authenticity endorsed by the artist. But above all else, trust your instincts on your art-shopping spree. Pick what you like, a work of art that you would want to look at every morning for a long time, and once your decision is made, a few mouse-clicks is all it will take to buy it online and have it delivered to your doorstep.

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The top five lots of this sale were Surendran Nair’s ‘Doctrine of the Forest: An Actor at Play (Cuckoonebulopolis)’, going for Rs. 2.12 crores (US$ 558,969); Subodh Gupta’s ‘Untitled’, going for Rs. 1.81 crores (US$ 477,250); Subodh Gupta’s ‘Let Me Make My Damn Art’, going for Rs. 1.66 crores (US$ 437,000); Jagannath Panda’s ‘Untitled’, going for Rs. 1.34 crores (US$ 353,625); and Shibu Natesan’s ‘Each One Teach One’, going for Rs. 1.06 crores (US$ 281,448).

Works by artists Shilpa Gupta and Dhananjay Singh, both featuring for the first time at auction, saw an intense round of bidding. The works recorded an average of 25 bids and closed well above their higher estimates. Pakistani artists Rashid Rana and Nusra Latif Qureshi were also popular with Lot No 107 by Rana selling at Rs. 20,97,600 (US$ 55,200), more than three times its higher estimate.

Just over 550 registered bidders from all over the world competed against each other for the works of some of India’s most prominent contemporary artists. Though there is a strong Indian base of collectors for this genre, at this sale 25% of the bidders were non-Indian, highlighting the high level of international interest in Contemporary Indian art.

Dinesh Vazirani, Co-founder and Director of Saffronart, says, “I think the results of this auction are extremely encouraging. We were pleasantly surprised at the overwhelming response we saw. The results have reinforced our belief that the blending of global and local contexts that characterises Contemporary Indian helps it transcend geographical barriers and appeal to an international audience of collectors.”

Online auctions, pioneered by Saffronart, have transformed the landscape of Modern and Contemporary Indian Art, making it accessible to participants who are constrained by geographical and physical limitations and opening it to a wide spectrum of international art lovers. Established by Dinesh and Minal Vazirani, Saffronart has set global benchmarks for online art auctions. The company’s innovative business model has prompted the Harvard Business School to write and teach a case study on it.

Saffronart has been instrumental in fundamentally changing the market for Modern and Contemporary Indian art. With its professionalism and transparency, it has contributed to the burgeoning international and domestic interest in Indian art, and in the process established itself as the leader in Modern and Contemporary Indian art auctions.

Source: Press release distribution via India PRwire

For further details on the auction, please contact us: India: Punya Nagpal/Nishad Avari Tel: (91 22) 2432 2898/2436 4113 or Email: auction@saffronart.com USA: Anu Nanavati Chaddha Tel: (212) 627 5006 or Email: newyork@saffronart.com UK: Abha Housego Email: london@saffronart.com

Media Contact:

Suparna Ganguly, CMCG India Pvt. Ltd., (91-22) 24450991/2/3, (91 99) 30313920

The top five lots of this sale were Surendran Nair’s ‘Doctrine of the Forest: An Actor at Play (Cuckoonebulopolis)’, going for Rs. 2.12 crores (US$ 558,969); Subodh Gupta’s ‘Untitled’, going for Rs. 1.81 crores (US$ 477,250); Subodh Gupta’s ‘Let Me Make My Damn Art’, going for Rs. 1.66 crores (US$ 437,000); Jagannath Panda’s ‘Untitled’, going for Rs. 1.34 crores (US$ 353,625); and Shibu Natesan’s ‘Each One Teach One’, going for Rs. 1.06 crores (US$ 281,448).

Works by artists Shilpa Gupta and Dhananjay Singh, both featuring for the first time at auction, saw an intense round of bidding. The works recorded an average of 25 bids and closed well above their higher estimates. Pakistani artists Rashid Rana and Nusra Latif Qureshi were also popular with Lot No 107 by Rana selling at Rs. 20,97,600 (US$ 55,200), more than three times its higher estimate.

Just over 550 registered bidders from all over the world competed against each other for the works of some of India’s most prominent contemporary artists. Though there is a strong Indian base of collectors for this genre, at this sale 25% of the bidders were non-Indian, highlighting the high level of international interest in Contemporary Indian art.

Dinesh Vazirani, Co-founder and Director of Saffronart, says, “I think the results of this auction are extremely encouraging. We were pleasantly surprised at the overwhelming response we saw. The results have reinforced our belief that the blending of global and local contexts that characterises Contemporary Indian helps it transcend geographical barriers and appeal to an international audience of collectors.”

Online auctions, pioneered by Saffronart, have transformed the landscape of Modern and Contemporary Indian Art, making it accessible to participants who are constrained by geographical and physical limitations and opening it to a wide spectrum of international art lovers. Established by Dinesh and Minal Vazirani, Saffronart has set global benchmarks for online art auctions. The company’s innovative business model has prompted the Harvard Business School to write and teach a case study on it.

Saffronart has been instrumental in fundamentally changing the market for Modern and Contemporary Indian art. With its professionalism and transparency, it has contributed to the burgeoning international and domestic interest in Indian art, and in the process established itself as the leader in Modern and Contemporary Indian art auctions.

Source: Press release distribution via India PRwire

For further details on the auction, please contact us: India: Punya Nagpal/Nishad Avari Tel: (91 22) 2432 2898/2436 4113 or Email: auction@saffronart.com USA: Anu Nanavati Chaddha Tel: (212) 627 5006 or Email: newyork@saffronart.com UK: Abha Housego Email: london@saffronart.com

Media Contact:
Suparna Ganguly, CMCG India Pvt. Ltd., (91-22) 24450991/2/3, (91 99) 30313920

Dinesh Vazirani, Cofounder and Director of Saffronart, says, “Contemporary Indian art is attracting increasing attention in the global art market. Some of the artists, whose works have been included in this auction, have been actively sought after at art exhibits and art fairs around the world. I’m sure this auction will fetch very good returns for the artists and the collectors.”

Online auctions, pioneered by Saffronart, have transformed the landscape of Modern and Contemporary Indian Art, making it accessible to participants who are constrained by geographical and physical limitations and opening it to a wide spectrum of international art lovers. Saffronart, established by Dinesh and Minal Vazirani, has set global benchmarks for online art auctions, and has recently been included in a case study at the Harvard Business School.

Source: Press release distribution via India PRwire

About Saffronart-

Saffronart has been instrumental in fundamentally changing the market for Modern and Contemporary Indian art. With its professionalism and transparency, it has contributed to the burgeoning international and domestic interest in Indian art, and in the process established itself as the leader in Modern and Contemporary Indian art auctions.

Minal Vazirani, Cofounder and Director of Saffronart, says, “Contemporary Indian art has moved up the global ladder simultaneously with India being recognized as an emerging economic power. We have so far tapped only a small portion of the worldwide appetite for Contemporary Indian art.”

“I believe the works of art in the current Saffronart auction offers serious collectors as well as firsttime buyers, worldwide, with a wide range of art forms to choose from to add quality and diversity to their collections”, she added.

For further details on the auction, please contact us: India: Punya Nagpal/Nishad Avari Tel: (91 22) 2432 2898/2436 4113 or Email: auction@saffronart.com USA: Anu Nanavati Chaddha Tel: (212) 627 5006 or Email: newyork@saffronart.com UK: Abha Housego Email: london@saffronart.com

Media Contact:

Suparna Ganguly, CMCG India Pvt. Ltd., (9122) 24450991/2/3, (91 99) 30313920

The art market has witnessed a growth like never before and the market is growing at a whopping 30% and will continue to do so with the growing trend of the Indian Economy. Coming up with a niche Art Exhibition titled "The Spring Equinox" which will be inaugurated on March 28 and will remain open till the April 11th, Art lovers will get a visual treat of Masters' works at Gallery Remadhav, East of Kailash. An initiative of Arun Bhan of Ireland and Rakesh Thapar, Managing Director Barter 4 You. "Our endeavour is also to bring out the huge art pool in the NRI segment, which can be tapped and brought in as serious investment, " says an upbeat Thappar, whose recent Taj Mahal commemoration mega event at Agra got him the national headlines.

Art consultant and Curator Kamal Rustomjee says that there is a big section of untapped investors waiting out there and who can be educated about this growing market and she proposes to do just that by bringing in an exhibition of Bengal Masters at Gallery Remadhav, East of Kailash . On view will be works of Paritosh Sen, Jogen Chowdhury, Sunil Das, Aditya Basak and others. She feels that Bengal Masters are still under-valued and this is the right time to invest. "Once a painting is fully valued it takes quite some while to see your stocks appreciate in terms of money," says Kamal. "Big corporate houses are expected to partner & participate in this niche event, says Rahul Mittra, CEO Brandsmith, branding & media associates for this unique art show.

Venue: Gallery Remadhav, East of Kailash Date: March 28-April 11, 2008

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On the inauguration ceremony all the artists; Asit Kumar Patnaik, Chanchal Ganguly, Gouri Biswas, Inderpreet Kaur Bhogal, Jagadish Dey, Neeraj Bakshi, Rituu Kamath, Sangeeta K. Murthy, Swapan Karmakar, Tapan Biswas, Uttam Basak, Baljit Chadha, Victor Vijay Kumar & Vikash Kalra along with Madhumita Puri (Secretary, Prabhat), Isobel Grant and Cherrie Mallins were present there.

On this occasion Madhumita Puri said, the exhibition has been oraganised in aid of mentally retarded individuals, where we have included paintings by various artists. The fund collected from here would be used for these people.

About PRABHAT – Society for Child Development:

Driven by our conviction that there is a way to create a world of equal opportunities for people with disabilities, the Society for Child Development (SFCD) was set-up as a non-profit organization in 1992 to establish programs and initiatives for its actualization. In the beginning, we launched Prabhat, a school for children with learning difficulties which aims to provide students with an educational and training facility that will assist them acquire basic living and academic skills. And for the 70 students who study with us each year, the journey has only just begun…..

At the age of 18, students transfer to the Vocational training center to learn market-driven skills and crafts. Regularity, precision, innovation and creativity are the keywords at the center. Thus, the pure white 300 gsm acid-free deckle-edged handmade paper produced by some of our papermakers has found great favor with the artist community. Specially made works by leading Indian artists using the paper as their canvas are showcased during the Art for Prabhat exhibitions and a part of the proceeds are used to further develop the programs of the Society.

But the road to development is not about school and vocational education alone. At SFCD we have for long lamented the difficulty in accessing information related to disability issues. In 1999, we took matters into our own hands and embarked on a unique website called the Disability India Network. Encouraged by the enthusiastic responses we added an Online Legal Aid Cell which provides pro-bono counsel to the disabled and their families.

SFCD conducts research and develops accessible reports and publications for wide dissemination. The World Bank, National Commission for Women, and Handicap International have been among our sponsors. To expand the scope and extend our reach further, in 2004, we set-up a Parent Support Network to provide a forum for parents to benefit from each others experience and to bring home the truth that “ a well informed parent makes a better parent”. Besides this, we also conduct integrated awareness and sensitization programmes with school students (both disabled and non-disabled).

Our journey over the last 17 years has been long and arduous, with the path full of barriers and challenges. We could never have come this far were it not for the many who believed in us, joined hands with us and walked with us side by side.

But do we end here? Our work will continue till our mission is achieved……

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Following the recent success of its inaugural auction, Bid & Hammer has announced that it is accepting works for its next auction to be held in Bangalore on 6th June, 2008. Bid & Hammer has already sourced paintings by leading artists such as J. Swaminathan, B. Prabha, M.F. Husain, F.N. Souza and Ganesh Haloi amongst others for the auction which will focus on Modern and Contemporary Indian Paintings.

“The positive response to our first auction has spurred us on to announce the second one in the earliest possible time. This is a great opportunity for private collectors and art connoisseurs to consign the paintings they wish to sell and find buyers through an auction house,” said Maher Dadha, Chairman & Managing Director, Bid & Hammer. Entries for consignment close on March 7th and images along with details need to be emailed to info@bidandhammer.com.

A full service auction house, Bid & Hammer boasts of a very experienced team of art experts that include Savita Apte (formerly head of Sotheby’s South Asian Art, London & New York), Dr. Mohan Lal Nigam (former Director of Salar-Jung Museum), Venkat & Madhavi Singh (Directors, Dharohar Art Conservation) and His Highness Gaj Singh II (Maharaja of Jodhpur). At its first auction held in Bangalore recently, the auction house received a very encouraging response.

Source: Press release distribution via India PRwire

About Bid & Hammer

Bid & Hammer Auctioneers (P) Ltd is India’s first homebred full service art & antiques auction house and also the first Indian auction house to be headquartered in the Southern city of Bangalore. An initiative of Mr. M. Maher Dadha, former Director of erstwhile ‘Tamil Nadu Dadha Pharmaceuticals Ltd’, Chennai and Chief Consultant of the well known Bangalore based gallery ‘Dukan- Fine Art & Antiques’, Bid & Hammer’s clients are able to take advantage of a wide spectrum of expertise (authentication, provenance, valuation, conservation, restoration etc) across all major categories of fine and decorative arts and antiques.

For further details, please contact:
Mahesh Nair
Corporate Voice|Weber Shandwick
E-mail: mahesh@corvoshandwick.co.in
Ph:+91 9880376648

After the phenomenal success of huesdayjanuary, the Indiatimes pick of artists for its second huesday come from varying design sensibilities. Thirty-year-old Yati Jaiswal, an alumnus of Delhi College Of Arts, will display his socio-political futuristic works on the deteriorating world order. Seasoned landscape artist K Jagjit Singh’s work depicting the mountains of Ladakh, Kumaon & the Nilgiris have been a favorite with Prime Minister Manmohan Singh and other high profile collectors. The works of both artists have shown exponential critical & financial appreciation in art markets worldwide.

Huesdayfeb will be opened at F Bar and Lounge, The Ashok, New Delhi on Thursday at 6:30 p.m. A detailed compendium on the life & works of Yati Jaiswal & K Jagjit Singh thus far with literary contributions by art critics Suneet Chopra and Johny ML will also be launched.

Kingfisher First will reprise its role as title sponsor with F Bar & Lounge, The Ashok, New Delhi assuming the role of host and hospitality partner. Beverage sponsors Chantilli will round off the class act that huesdayfeb promises to be.

The huesdayfeb exhibit will remain on view at F Bar & Lounge, The Ashok, New Delhi till Sunday, March 2nd.

Source: Press release distribution via India PRwire

Indiatimes is the most popular Internet and mobile value-added services destination for the global Indian. Covering everything from art to airlines, Indiatimes is taking the digital age into people's lives, influencing the way they live and respond to changing times, work and transact. In a short span, we have created multiple relationships with millions to users.

The invitation describes this venture as an artistic endeavour to translate the thoughts and images of the mind onto his canvas through colour and form. The invitation further describes that the paintings of Debashish come across as an innocent, lyrical expression, almost child like in sincerity.

When asked about his vocational education, this Delhi based artist married to Nandita Mukerjee says, "Patna, a funny place description for a college, the Government College of Arts and Crafts that later got associated with the Patna university."

Whether liked or not, Debashish's paintings intentions lean towards abstraction with aesthetics widened to suit interiors of patrons. Allow this man associated with myriad creative fields, a rich background, and his thinking canvas to take you on a journey of discovery. Discover the simple!

Source: Press release distribution via India PRwire

About the Author: Leslie Gregory Fernandes has worked with several publications in the capacity of a Writer and Editor

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Asian Academy Of Film And Television is the premier film and Televisionschool in India.It has been ranked as the first ten best film schools of the world.So far 5500 media students have been churned out of this institution hailing from 68 countries of the world.AAFT has designed 30 different media courses to suit to all those who want to get into media and entertainment world.AAFT is the first ISO cetified film school in the world.This is the only film institute which is backed and supported by Indian Film Industry,operating from a professional grade film studios and based in 100 acres 0f film city of Noida.AAFT is affiliated to International Film And Television Research Centre and International Film And Television Club and number Indian and foreign Universities.So far the institution has been bestowed upon more than 100 National and International Awads.

Geeta Vadhera is that rare artist who has been able toblend the figurative and the abstract in a perfect mélange. The images are real, but their environment surreal. "The experience is what I paint," she says, - well - she certainlyhas a lot of deep experience to share with us. Her images are very Indian, but the freedom of handling and compositionis Western! Her style combines powerful design & layout at work, although the work is rooted in the fine arts. The tension of negative and positive space molds and commands the eye as it moves in and around each work. "When viewing the works, squint and see the fluid movement of color, light, dark and shape. Its a lesson in visual dynamics!” says noted critic, Fred Showker.

According to Geeta Vadhera, "I sat one day, in my studio, in front of a blank canvas and reflected. To some extent, the raw canvas is a threshold, a Dahleez and to another extent, it is a Door, Dar, or, darwaza. As a Dahleez, the blank canvas has the potential to transform into a work of art and as a Dar, it has the potential to transform me as I begin my journey, getting deeper and deeper into the painting, which is yet to be.

But isn't it the same thing? Once the self is dissolved, the canvas is not two. It is two because of the dividing line and when that dissolves, then in is out and out is within. These canvases, these Dar-Dahleez, modulate into the unpredictable and deal with the very inner energy. I strip the over layers to get close to my innerself and experience the profound consequences, both at conceptual and formal levels.

It could be the rippling gradation of sea, transparent tender dew drops appearing on lifeless crushed ochre, umber leaves. Some left out impressions of time on the desert sand, or a specific captured impressionable moment which inspires me. And my thoughts sometime flow through the figurative and sometime through the formless abstraction and I drop myself in between these two, perhaps first from Dar, and then, Dahleez and then, the outburst from Dar Dahleez. Each canvas has dealt with one such moment. And the revealing truth of that moment is the very basis of these works. These paintings are my own Conversations with the canvas."

Source: Press release distribution via India PRwire

About Geeta Vadhera:

Geeta Vadhera has been painting for more than 20 years now. She has painted on canvas, on paper, on photographs, on wood, on glass, and even on a body! She did her BFA from Delhi College of Art and fellow ship from Royal Society of Arts London. She had the privilege of working on 33 solo exhibitions across several countries, with several people in the course of her career. With many credits to her achievements like produced weekly Arts Daily for Doordarshan India, produced AV curtain raiser for Festivals of India, which was then presented to late Sh. Rajiv Gandhi, Prime Minister, she is also honoured of Bharat Nirman award for her important contribution in the field of art.

Her latest Show "Dar-Dehleez" can be viewed from 10am till 8 pm daily (including Sunday).

Guru Mayadhar Raut introduced the Shringara Rasa Ashtapadis to Odissi. He was also the first to introduce the SANCHARI BHAVA to Odissi. Aadya elaborated on both of these through an ashtapadi from the Geet Govind.

The evening begins with a traditional invocation to the Goddess Saraswati, the goddess of Learning. She, the wife of Brahma, is the bestower of all the knowledge in this world. This classification of Odissi into five distinct parts is one of the important contributions of Guru Mayadhar Raut to Odissi. Before this codification was done Odissi performances were done as a single item of about 20 min.

Aadya also talked about the life and work of Guru Mayadhar Raut. She highlights his major contributions to Odissi, such as the sanchari bhava, the study of mudra viniyog etc. The Mayadhar Raut’s Paddhati is best known for the intricate and explicit use of Mudras. One of Guru Mayadhar Raut’s greatest contribution to Odissi has been the incorporation of the Shastra based knowledge and usage of Mudras. He incorporated the Natyashastra along with the Abhinaya Chandrika and Abhinaya Darpana and evolved a unique and extensive vocabulary of Mudras for Odissi.

The next item’s lucid rendition “Khar Har Priya Pallavi” choreographed by Aadya’s Guru Madhumita Raut, is done with extremely graceful and flowing movements. The dancer seems to be swaying with the music, becoming a single entity. Aadya’s movements give physical form to the beauty of the music. This is a true portrayal of The Guru’s dance styleof lyrical and flowing movements which have a strong resemblance to the sculptures of the temples of Orissa.

When work started on the restructuring of Odissi in the 1960’s Odissi had lost much of its original grace, sensuality and grammer essential ingredients for any classical idiom. The scholars and Guru’s of Jayantika, prominently Guruji, undertook a detailed study of the ancient temples of Konark and Bhubhaneswar and incorporated the sculptures into Odissi movements. Owing to this extensive research, we know Odissi today as a sculpturesque dance form. This Pallavi is a testimony to those years of work and research put in by Guruji which make Odissi what it is today.

Aadya then perform’s Ashtapadi- Sakhi he (in which Radha pines for a meeting with Krishna and implores her friend to expedite their union).

“I reach the lonely forest hut where he secretly lies at night,

My trembling eyes search for him as he laughs in a mood of passion.

Friend, bring Kesi’s sublime tormenter to revel with me

I have gone mad waiting for his fickle love to change”

Through this ashtapadi Aadya showcases the SANCHARI BHAVA which was first introduced to Odissi by Guru Mayadhar Raut. The recital concludes with a Oriya song—Nachanti Krishna, which describes the dance of Krishna with the Gopis of Brindavan.

One of Guru Mayadhar Raut’s greatest contribution to Odissi has been the incorporation of the Shastra based knowledge and usage of Mudras. He incorporated the Natyashastra along with the Abhinaya Chandrika and Abhinaya Darpana and evolved a unique and extensive vocabulary of Mudras for Odissi.

The Guru is considered a master of Abhinaya and Sakhi and is one of his most popular ashtapadis in India and abroad.

Guru Mayadhar Raut is known for extensive use of Mudras and intricate use of taal and laya. Therefore the recital concludes with a Oriya song—Nachanti Krishna, which describes the dance of Krishna with the Gopis of Brindavan. This item displays the intricate footwork with soft graceful movements, woven together in a interesting tapestry of Taal and Laya. Krishna’s dance is depicted with graceful movements and strong footwork which is the benchmark of Guru Mayadhar Raut’s style.

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Guru Mayadhar Raut - Odissi owes its classical status to the hard work and research put in by a dedicated group of scholars and Gurus who formed the Jayantika Assoiation in 1950’s. Foremost amongst them is Guru Mayadhar Raut who has enriched Odissi with numerous contributions. From the technical to the ornamental aspect, there is no area, no aspect of this dance form to which Guruji has not contributed. Guru Mayadhar Raut’s dance style can be summed up as being -Rasa pradhan, or that bhava or emotion is the most important aspect to be followed. In both the Abhinaya and pure dance pieces, Guruji’s style is characterized by soft, graceful flowing movements. Odissi as it exists today is highly indebted to Guru Mayadhar Raut for restructuring and enriching it with many creative innovations. He introduced the Shringara Rasa Ashtapadis to Odissi. He was also the first to introduce the Sanchari Bhava to Odissi.

Aadya Kaktikar, has been training in the classical dance form since the age of four and has been a solo dancer since 1992 performing and propagating her Gurus style. Training under Madhumita Raut, and the keen supervision of Guru Mayadhar Raut, has meant a strict and rigorous training schedule. Guruji is a pioneer in the field of Odissi and this has given Aadya an extensive grounding in the theory and concepts of Odissi. Aadya has danced extensively in a number of festivals and prestigious venues since 1992. She has played leading roles in production such as Ritu Basant (1993), Konark (1995), The Geet-Govind( 2000), Shivali youth Festival (1992), The 8th Yuva Mahotsav(1993), the Delhi Day (1994) and her experimentation with Marathi poetry (IIC,2001). Aadya has been critically applauded for her strong sense of ' Taal ', deft footwork, lyrical movements and intense 'Abhinaya' while maintaining the purity of the dance form.

Sandeep Marwah informed the august audience that AAFT is presently conducting two acting courses for three months and one year.some of the talented students of NSD,FTII,and working professionals from the TV and Film Industry are the faculty members of this department.Marwah added."some of the acting students are doing extremely very well into the film and tv industry.Kalpesh in London.Kanika Maheshwari in Ravi Chopras Virasat,Puja in Feature film Krodh,Simran in feature film Sirf Tum,Vipin Sharma as Model,Barkha Kaul as National Model,Henna in feature film Insaaf,and many more have brought AAFT to big fame.Later Marwah presented the life membership of International Film And Television Club to Prof. Devraj Ankur.

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Asian Academy Of Film And Television is the premier film and Televisionschool in India.It has been ranked as the first ten best film schools of the world. So far 5500 media students have been churned out of this institution hailing from 68 countries of the world.AAFT has designed 30 different media courses to suit to all those who want to get into media and entertainment world.AAFT is the first ISO cetified film school in the world.This is the only film institute which is backed and supported by Indian Film Industry,operating from a professional grade film studios and based in 100 acres 0f film city of Noida.AAFT is affiliated to International Film And Television Research Centre and International Film And Television Club and number Indian and foreign Universities.So far the institution has been bestowed upon more than 100 National and International Awads.

A preview is slated for art aficionados before the hammer actually comes down on the prized collection. One can take a look at the impressive array on February 02, 2008 at Hotel Taj Mahal, New Delhi. Other previews will be held at The Grand Central (ITC) Mumbai on February 10, 2008 and Emami Towers in Kolkata from February 16 - 22, 2008.

For those yet to get acquainted, Emami Chisel Art ( in short ECA) has been formed out of collaboration between two diverse business groups – the reputed Emami Group and Kolkata's well-known art outfit Chisel Art; the parent company of Aakriti Art Gallery.

Among the highpoints of the auction are Tyeb Mehta's 'Kali III' (4-5 crore), F.N. Souza's 'Manor House' (1.5-2 crore), M F Husain's 'Safdar Hashmi' (2-2.5 crore) which was painted in reaction to the cultural activist's gruesome assassination. This was also the first painting from an Indian artist to cross the Rs10 lakh mark in 1987. Besides, there's a rare landscape by Raza made in 1953( 80 lakhs -1 crore).

The other biggies are J. Swaminathan (80lakhs-1 crore), Bikash Bhattacharjee (Over The Dark Clouds 40-50 lakh), a couple of Manjit Bawa's oil on canvas (40-50 lakhs each), two charcoal drawings by Amrita Sher-Gil (12-16 lakh each), and a bronze head by Akbar Padamsee (16-20 lakhs).

There are some veritable delights too, for example watercolours by Nandalal Bose andDeviprasad Roy Chowdhury. The fresh spring like quality in Shibu Natesan's watercolour and the sensuous study in oil by Paresh Maity are certainly collector's item.

Other important names in this auction include Ganesh Pyne, Jogen Chowdhury, K. G. Subramanyan, Krishen Khanna, Bhupen Khakhar, Himmat Shah, Prabhakar Kolte, B. Prabha, Ram Kumar, Rameshwar Broota, Satish Gujral,Anupam Sud, Nalini Malani, Nilima Sheikh, Amit Ambalal, Sakti Burman, Manu Parekh, Madhavi Parekh, T. Vaikuntham, Ganesh Haloi, Amitava Dhar, A. Balasubramanian, Chintan Upadhyay, G. Ravinder Reddy, Jagannath Panda, Sekhar Roy, Farhad Hussain, and Chhatrapati Dutta.

In fact, Samindranath Majumdar, Sekar Roy, Chattrapati Dutta, P. R.Narvekar, S. K. Shahajahan, Sunil De, and Ganesh Chandra Basu are the first-time entrants in an auction that lists number of works - 89, participating artists - 70, total sale high estimate - 22,48,80,000 (US $57,66,154), and total sale low estimate - 17,77,10,000 (US $45,56,667).

From its very inception, the central most idea of ECAand its young team has been to take creativity out of the gallery walls and permeate our homes, influencing our lifestyle and aesthetic sensibilities. From another viewpoint, it's a novel way, a desirable option,to weave our lives around art, whichofferscreativity and an open forum for meaningful enduring dialoguesas values, perception and mindsets go through shifting changes with the spirit of time.

To begin with, the most unique feature ECA has to offer on its debut auction day is the simultaneous bidding process; both physical as well as virtual to all art enthusiasts. It's by far the most ideal situation for art collectors whether they're in India or abroad. As a feast for the eyes and the senses; the auction promises a diverse selection to choose from. It comprises 89 lots of handpicked art works from 70 odd artists across India. With competitive pricing, it will be one of its kinds of gathering where paintings of contemporary young sparks will vie for attention amidst modern masters. Another huge advantage ECA is hoping to leverage for art collectors is that of transparency and tax rebates. Kolkata, unlike other centres, does not levy 12.5 % VAT on art, which means here is a lucrative benefit for art lovers to splurge on art, yet saving a huge chunk of money on tax.

As things stand, ECA plans to stage about three to four auctions every year. With the first one kicking off in February, there'll be two more auctions in September and December this year. "While the debut auction will encompass modern and contemporary art, the others should revolve around different exclusive genres like sculptures, drawings, prints and contemporary art," says Mr. Vikram Bachhawat.

According to Vikram Bachchawat, the director of ECA, "Our focus is to build a collector's base and we have some very significant and high quality works outsourced from collectors in different parts countrywide. They will now be accessible to art lovers."

Today contemporary Indian art is on a robust growth curve. The size of the Indian art market, including the auction market, has been pegged at Rs 500 crore. It is growing at 35-50 per cent annually, according to sources.

At the confluence there is a willing audience to nurture and patronise the movement. To reiterate Tagore's words, "…this is a world of wild storms, kept tamed with the music of beauty"; ECA with an event like this is trying to bring artists' voices to the broadest audience.

However,there's more to ECA than an auction house. According to Mr. Vikram Bachhawat, ECA has also a full-fledged art centre encompassing a gallery, library, archive, bookshop, publication wing and a future plan for museum. Another significant facet of this project is an 'art banking division' which will be manned by a consultant to guide buyers through the process of parking funds in rare artworks. The works, in turn, will be put up at the auctions when they appreciate and are likely to draw healthy bids," says Mr Vikram Bachhawat.

Before wrapping up, this is to remind all art enthusiasts that, online bidding will begin from February 16, 2008 on www.emamichisel.com, with the final auction being conducted both live and online on February 23, 2008. Watch out for some glorious weeks ahead!

Source: Press release distribution via India PRwire

For further details contact Rrhima Naik on 9833227721

Before the inauguration for all the art lovers at Lalit Kala Akademi, a special preview of the same was also organised at Studio Vasant. On the occasion Ekathrina, Jan Nicolas Schuatt (Deputy Head of Regional Delegation for South Asia), Baljeet Chadha (Director Studio Vasant), Manmohan Chadha, Sudhakar Sharma, Uday Jain, Gyiebok Chae, Mihee Chot and many others were present there.

On this occasion Ekathrina said, "Unity" is the main concept of all my art. With every new project I go to different countries and try to discover new aspects of Unity in Duality.

When I came to India for the first time, I was overwhelmed by the beauty of women, their colorful robes, saris and jewelry, the spicy food, strong smells, inspiring music, chaotic traffic, tranquility of the meditation resorts and erotic sculptures in the Hindu temples.

I believe the way of life in Indian culture is connected very much to the body. Vegetarian food, training in yoga, breath exercises and seeing the Kama-Sutra as divine teaching of a way to enjoy life in all its richness are all tools to elevate the body by using the senses in a very controlled way. Over the centuries, the Indian people have been able to see the big picture of the Universe and connect it to their daily lives.

The Indian way can be interesting for other societies, especially those which separate the body and the spirit in grotesque ways. By forcing sensuality into the realms of unholy, western people, for example, suffer from anxiety, stress, dissatisfaction, aggression and fear.

In my photo-project "India: Sensuality and Spirituality" I am looking for balance and harmony between these seemingly opposite aspects. I want to inspire all civilizations to be open to the positivity and beauty of life.

On the occasion Baljeet Chadha was all praise for Ekathrina. He said, Ekaterina and her art saturated in the multicultural landscape of Europe, USA and Russia has brought to India a fresh and exhilarating artistic experience about India’s sensuality and spirituality.

Source: Press release distribution via India PRwire

Tradespotting Old Delhi is a unique look on the life that seems to be slowly ebbing away from the streets of Chandni Chowk. Don’t let the title confuse you however -- this show is not about the usually expected crowded streets of Old Delhi. Photographer Urvi Khanna focusses mostly on the people behind the trade.

The moment the elevator doors open on the sixth floor causeway at IHC that marks the entrance to Delhi-O-Delhi, a bold portrait of a laborer transporting a heavy load holds you in sharp, hypnotic gaze. The title ‘The Machine’ is very evocative - in the by lanes of Chandni Chowk humans are the machines. A young boy tea-owner day dreams next to his boiling pot of tea , millions of miles away from here. A rickshaw puller sits on his vehicle in the sun, an emperor on his chariot. A queer statue of a lion guards an empty shop in a surreal world of sewing machines. A queue of outdated telephones are ‘Still Wired’, as is this place. A brilliant shot of galaxies in the night sky is revealed to you as a shot of the pavement at Chandni Chowk.

Water bearers, ear cleaners, pineapple sellers: the photographer’s camera captures each person in a reflection of his self-image - dignified, sometimes even saint like, in a glorious celebration of some of the most ordinary individuals on this planet.

This is photographer Urvi Khanna’s first exhibition. In Urvi’s words: “Reality is a sum of its parts: truth, illusion and perception. As a photographer, I am fascinated by alternate realities. I click both people and still life subjects that exist in ambivalent surroundings, hiding alternate realities.”

Source: Press release distribution via India PRwire

To understand the fierceness, strength and the painful tasks, the bulls carry out; it was a necessary exercise for the artist to sketch the spectacular bulls on the spot during the Bull power competition held in March 8th 2007 for five days of rigorous activities carried out by the bulls. Several drawings were made during the event that took place in Atkuru in Krishna District.

The artist's engagement from morning to 11pm in the night also informs of a struggle to grasp the matter of his observation, following the forms with spontaneous effects and render it sincerely. The dark high hump the short structure of the body neck and legs were internalized in quick coordination of the strokes and observation. The bull with its specific characteristic features of black spots on the body, hump, nose, eyes, ears, knees, testicles and a distinct black tail were expressed with dry pastel, pencil, charcoals and water colour.

It is apt to mention that Giridhar Gowd is able to treat various genres in art practice as a means for expressing different notions in different times.

Each series created by the artist recalls the use of certain set of skill and training to be made use of for specific expressions, in this respect each series becomes an experience for the artist as he explores the subject through an approach of research and fashioning its expression. The viewer too experiences a surfeit of visual impacts each time.

The fervor to see the Bulls ended up as a sketched documentation of the bulls their behavior, loveliness, strength and usefulness.

The artist informs of an internal Analysis of the form through a process of observation of the form and judgment of the volume, this is further carried out by superimposition of the transitory moment on an inert surface. The decisive outcome of this method is the commitment of the form to memory, for purposeful expressions.

Thus the painting of Krishna fighting the bulls inspired by the 10th episode of Mahabhagvatam, was expressed with such indemnity. Although the series culminates in a mythological narrative the exploration of the artist in Vrushabha 1, has been devoid of any preconceived milieu. At this point for the artist and his viewers it is form for the sake of form itself.

Source: Press release distribution via India PRwire

RPG Academy of Art is holding its annual art camp from the 10th to the 17th of December. Several well known artists from India and abroad including Anjolie Ela Menon, Bose Krishnamachari, Jagannath Panda, Julius Macwan, Kazi Nazir, Krishen Khanna, Mayank Anand, Paresh Maity, Pranati Panda, Prandeep Kalita, Prasanta Sahu, Prashant Prabhu, Riyas Komu, Saba Hasan, Samit Das, Sandeep Daftary, Vipta Kapadia, Yogesh Rawal, Rearngsak Boonyavanishkul, Vincent Leow, Humphrey Ocean Ra and Gabriel Klasmer are participating this year and aremost excited to paint Marve in various hues at the camp.

It really couldn't get bigger than this. In sprawling, idyllic environs ofRPG's beach house in Marve, these brilliant artist willlive and explore new creative dimensions. Naturally, theart expressions which come out are a beauty par excellence and piece de resistance.

Growing by leaps and bounds, the RPG Art Camp is now a name to reckon with for over 11 years. Art lovers affirm that thiscamp has now evolved into a movement. It is looked forward by not just the artists but also the art patrons. Andthis art event is vouched as one of the biggest art events in the city by many veterans of art.

Elaborating on the concept of the RPG Art Camp, Harsh Goenka says, ""The camp is now into its 11th year and it is good to see the diversity of artists and styles that have become a feature of this camp. The international flavour we have now adds to the delightful mix of new and senior artists. The relaxed habitat has only added to the creative quality of their works."

Vickram Sethi, who was the one who initially came up with the entire concept to Harsh Goenka during a friendly tête-à-tête many years ago says, "Like every year, this year too, we havean array of interesting and established names in the arena of art who are participating in the camp.Our ehe entire idea is to bring some great talent to the fore. When younger artists interact with the senior ones, their discussions result in some awesome creative expressions. The ' Guru-shishya parampara' in India is still followed by the artists in contemporary settings and at this camp, this ritual can be seen. Keeping their usual busy schedules aside, the artists can work under scenic surroundings of the camp. Being art lovers, Harsh and I only help them in meeting each other and in turn witness colourful creativity all through the week."

The RPG camp spans for a week. During which, artists take to the sounds and sights of the Marve beach, the lush lawns and the natural surroundings of a serene sunrise and sunset away from the city clutter. With constructive discussions, art forays into newer frontiers every moment in the RPG Art Camp.

There are no specific guidelines, time frames or style of artistic expression which is followed here. While many work on self portraits, some tend to decide the theme of their work in situ and play with the splurge of colours, this is a constant feature at the camp each year.

Mr Harsh Goenka and Vickram Sethi have a profound belief that this at the art camp, senior and young artists can creatively tide over the painters' block. Having been associated with the art camp as conceptualisersfor so long, the Goenka-Sethi duo have themselves never dabbled with painting. However, Harsh adds on a lighter note, "To me, the art camp has been more a path of self discovery. I love to understand what goes on inside the minds of these intellectually creative people. Although I myself do not paint, my understanding of the expressions has improved with time. And each year, Vickram and Ihost the RPG Art Camp with much more zeal and zest."

What better way to conclude the year for promising, brighter and artisticbeginnings in the coming year.

Source: Press release distribution via India PRwire