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An interview with Lalitha Lajmi

A ray of light enters Lajmi’s room and falls on a half-painted canvas. The artist’s room is dipped in evening hues as twilight knocks on the door. Brushes stacked in paint holders stand in awe-filled unison like silent spectators as unsuspecting Lajmi continues to paint into the night. Seated on a wooden chair propped up on two cushions, Lajmi’s creative spirit knows no rest. Lalitha Lajmi’s nocturnal artmaking which was first born out of necessity is now a habit she has woven into her creative process.

Navigating NFTs in art

This is the transcription of the talk at Soho House, Mumbai.

Lalitha Lajmi's notes on Guru Dutt and her childhood

Lalitha Lajmi an Indian painter recalls her childhood days and memories with late filmmaker and brother Guru Dutt in these handwritten notes. These notes give us an insight into the influences that led her to nurture her passion for art and cinema. Read on to know more.

Lalitha Lajmi's notes on Guru Dutt and her childhood

F.N. Souza: The eternal rebel

Like a blithe child colouring on the walls despite protests, nothing deterred F.N. Souza (b. 1924) from asserting his art. His art, whose first impact is to shock, elicits a childlike element of uninhibited honesty with no filter, unafraid, and almost oblivious to those offended. His unrestrained and thought-provoking body of work makes one wonder about the power of art and its hold over the human psyche. Broad and bold lines jump out of the canvas attacking with speed, deeming him an eternal rebel.

Inside S.H. Raza's last studio

A meditative quality fills the senses as one steps into Raza's creative sanctuary in Delhi. Walls of art adorn each corridor, doorway, and room, giving one a glimpse inside the artist's mind. The leitmotif of Bindu in Raza's art looks out from all his canvases. While old photographs and a typewriter tell stories from another time. This studio is an exhibition of Raza's intimate world as an artist and a dreamer.

Somnath Hore's unique composition

This particular work, titled WOUNDS-104, being a very explicit depiction of Hore’s 'Wounds' gives one an insight into the artistic process.The work’s base layer is an etching dated in Bengali as 1972. There is a faint signature to the left that reads SO(mnath), followed by an eight in Bengali. Hence this piece seems to have been worked on by the artist for over a decade- the 70s and 80s, suggesting that masterpieces are indeed not made overnight.

Somnath Hore: the artivist

Somnath Hore was not one to paint the blue of the skies, the glitter of the sands, or the green of the whispering trees, but the helplessness of the trembling hand attached to an emaciated body collapsed on the floor. In Somnath’s vision, it is the spectacle of man’s suffering that steals the show.

Unearthing Bhanu Athaiya's artistic achievements

Bhanu Athaiya was the first woman artist to receive a gold medal from the J.J. School of Art for her work 'Lady in Repose', which was the first-ever abstract painting to be made by a member of the Progressive Artists' Group . This work which she addressed as Lying Lady in one of her handwritten letters along with The Nuns was painted as a part of her study at J.J. where Vasudeo S. Gaitonde was her mentor. In 1952, Gaitonde created the artwork 'Painting No.1' displayed at the Guggenheim Museum in New York.

Unearthing Bhanu Athaiya's artistic achievements

Artificial Intelligence: Competitor or Creative Collaborator?

In the quest of identifying the most important new technologies transforming the art world and creative processes - we focus on artificial intelligence (AI) and non-fungible tokens (NFTs) in particular. It is essential to understand how artists are weaving in technology into their practice while various art galleries and museums rewrite the rules of an exhibit. It is further important to analyse and gauge the potential of the blockchain as a suitable ecosystem in commercial art.

Artificial Intelligence: Competitor or Creative Collaborator?

A letter from Ebrahim Alkazi to Gobardhan Ash

Ebrahim Alkazi and his wife Roshen Padamsee were significantly responsible for promoting many members of the Progressive Artists' Group not only in India but also at an international level. Apart from Alzaki; Mulkraj Anand, Walter Langhammer, Emmanuel Schlesinger, Rudi Von Leyden, and Kekoo Gandhy were also active as collectors.

A letter from Ebrahim Alkazi to Gobardhan Ash

A note by Gobardhan Ash on The Children Series

For ten long years, ━ I drew and painted several studies on children. This culminated in one final painting, dubbed Commander-in-Chief, complemented by oil paintings and sketches of children in myriad moods and postures in pen and ink, and in pencil. It was common practice in the olden days for eminent painters in the West to sketch or paint studies on a single subject for 20-30 years. Many of these are now celebrated artworks. Such dedication is rare indeed in painters in this country.

A note by Gobardhan Ash on The Children Series

Fine Art and its Aspect by Gobardhan Ash

The illustration and painting of the globe of ideal- the form of beauty appeared on the playground of five elements in tone a rhythmic posture by the display of harmonious posture. The awakened inner soul of mankind unifies the different sentiments by the marvelous tonal sublimation, the fine arts born in a rhythmic aptitude.

Fine Art and its Aspect by Gobardhan Ash

M.F. Husain and Gobardhan Ash NFT drops

Alongside hosting the first NFT auction (Gobardhan Ash Avatars) in India, we are also proud to announce the first-ever NFT of the iconic M.F. Husain artwork “Lightning”, an initiative by art collector and entrepreneur Kent Charugundla. This move is bound to transform art markets worldwide. The name of this initiative "LightningNFT" is inspired by Husain's historic 60-foot-long mural titled 'Lightning" made in 1975 as a backdrop to an important speech given by Prime Minister Indira Gandhi.

Decoding Gobardhan Ash's Avatars

Ash’s experiments in art from the 1950s are characterised as avatars; primitive artworks depicting personality traits. His paintings comprise a technique composed of a scientific arrangement of colour dots, almost pointillist. His works are impeccable character studies. Listed below are Ash's avatars up for auction and an attempt to decode the same with reference to their titles.

My tryst with the Calcutta Group by Gobardhan Ash

Sometime in the middle of December, in 1949, I met Prodosh Dasgupta, Prankrishna Pal, and Rathin Mitra at the Calcutta Photo Society at 157B, Dharamtolla Street. Prodosh happened to be a previous acquaintance. The other two gentlemen, however, I met for the first time. “Why, we’ve been looking for you. There’s something we would like to discuss,” they said.

My tryst with the Calcutta Group by Gobardhan Ash

The history behind the Art Rebel Centre (1933) by Gobardhan Ash

Art Rebel Centre, founded in 1933, was formed and led by Gobardhan Ash, Abani Sen, Annada Dey, and Bhola Chatterjee. Subsequently, some of those invited to submit their work in exhibitions accepted membership. These include Lalit Chandra, Haridas Ganguly, Samar Dey, Amar Dasgupta, Sachin Das, Kalikinkar Ghoshdastidar, Khagen Roy, and Suren Dey, among others. Manoj Bose and Rabi Bose became members too, despite not providing paintings for exhibitions. The following is a brief history of how Art Rebel Centre came to be.

The history behind the Art Rebel Centre (1933) by Gobardhan Ash

The history behind the Young Artists' Union (1931) by Gobardhan Ash

[The present article by the veteran artist Gobardhan Ash, stands testament to two of the pioneering ventures, in recent years, at creating a cumulative creative space for young artists of this country ━ both of which he had been a part of. Mr. Ash was subsequently involved with the Calcutta Group as well.]

The history behind the Young Artists' Union (1931) by Gobardhan Ash

Gobardhan Ash’s Avatars PHYSICAL & NFT AUCTION

NFTs or Non Fungible Tokens are a new technology phenomenon allowing clear ownership and easy transferability of digital artwhich can be unique or in editions. In understanding NFT, one needs to understand digital art and perhaps the progression of the mediums on which art is painted/ executed. Since time immemorial - art has been painted on wooden panels, walls, paper, and from around the 16th century on canvas.

Gobardhan Ash’s Avatars PHYSICAL & NFT AUCTION

Homi Wadia: Master of the stunt film genre

Each time young Homi Wadia entered the set with his producer-director brother J.B.H. Wadia, his eyes would light up like a kid in a candy shop. His gaze was not stuck on fantastical costumes or the star-studded cast but set on the camera. This demonstrated his childhood aptitude for mechanical processes and all things technical. It was not long before he decided to dispense his studies and join his brother in the art of film making.

Homi Wadia: Master of the stunt film genre

THE WADIA MOVIETONE CINEMATOGRAPHY

Wadia Movietone was established by the Wadia brothers, J.B.H. Wadia and Homi Wadia in 1933. It was one of the first studios in the 1930s to achieve success through the production of stunt films. Lal-E-Yaman was the first talkie film to be released under the banner of Wadia Movietone. Each Wadia Movietone film served a purpose and made a social statement. Be it the Fearless Nadia era that changed the portrayal of women in Indian cinema or Nav Jawan, the first Indian film without a single song. J.B.H. Wadia and Wadia Movietone constantly challenged conventional cinema in ways more than one.