Art Ichol Journal

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Gallery Sanskriti based in Kolkata is one of the oldest art galleries in the city. In 2015, it celebrates twenty-five years. The gallery enjoys much goodwill amongst artists and art collectors alike. Gallery Sanskriti has had the privilege of hosting solo shows of, such luminaries of contemporary Indian art such as, Akbar Padamsee, Laxma Goud and Yusuf Arakkal amongst many, many others from all over the country. However, Gallery Sanskriti’s primary focus has always been Bengali artists, for this region is rich in its artistic and creative heritage. Few other galleries can claim such archival supremacy in Bengal art. Therefore the exhibitions, planned for the year-long, twenty-fifth anniversary celebrations of Gallery Sanskriti, begin with a ‘Tribute to the Bengal Legends’, with a group show.
march 2015 ‘A TRIBUTE’ IN MEMORY OF THE BENGAL LEGENDS Featuring artists BIKASH BHATTACHARJEE, GANESH PYNE, PARITOSH SEN, SHYAMAL DUTTA RAY and DHARMANARAYAN DASGUPTA, this exhibition showcases Bikash’s technique of post-renaissance, European oil painting, Ganesh Pyne’s signature style which is shaped from his own experiences, the strong lines and bold, stylized strokes of Sen, watercolours by Ray, and Dharmanaryan Dasgupta’s depiction of social inequities and injustice in the modern world. Show curated by Ambica Beri. ‘NAYIKA’ Recent Works by LALU PRASAD SHAW and RAMANANDA BANDYOPADHYAY april LALU PRASAD SHAW is widely known for his highly stylized portraits of Bengali women and couples, where he lays the emphasis on physical attributes of his subject but manages to convey a sense of intimacy through gesture and body language. Inspired by the simplicity and uncomplicated lives of the rustics, RAMANANDA BANDYOPADHYAY’S lyrical and romantic works, on paper, Tempera and mixed media, radiate innocence reminiscent of a by-gone era. JUNE ‘BLACK COMEDY’ Drawings by ASHOKE MULLICK and Sculptures by DEBABRATA DE ASHOKE MULLICK’s paintings are a satirical presentation of the ordinary man and the contradictions he faces in contemporary times. And DEBABRATA DE’s ability to express emotion and body language through his sculptures, sets him apart from most other contemporary sculptors.
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Journal MMXIV Volume One
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Editor: Gopika Nath Editorial assis
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Contents Scavenger’s Trick Naraya
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Editor’s Note Art Ichol has been
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The Residency
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Arshiya Sethi art ichol at night ph
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Arshiya Sethi It has a chhatri and
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Arshiya Sethi stage at art ichol ph
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Sudeep Sen
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Sudeep Sen Under Maihar Night Sky D
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Sudeep Sen secret garden. The walls
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Sudeep Sen
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Sudeep Sen Indian Dessert Clumps of
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Shalini Jaikaria
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Shalini Jaikaria inspired by these
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photo credit: amitabha bhattacharya
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Renewal of Spirit the pond differen
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Renewal of Spirit Shalini Jaikaria
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Tree, Bandhavgarh National Park The
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The Photographer’s Brush Branch m
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The Photographer’s Brush Safari s
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The Photographer’s Brush Untitled
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The Story Teller Growing up in Raja
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The Story Teller I was intrigued. I
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The Story Teller When the Maihar ba
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Detour to Kutch There weren’t any
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Detour to Kutch demands I imposed o
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Detour to Kutch opportunity for int
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Detour to Kutch water’s edge (mai
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Chasing the Sunset As one of the ei
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Chasing the Sunset Post our appetiz
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Chasing the Sunset Seated in the SU
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Poetics of Passion I recall well th
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Poetics of Passion people would rep
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Poetics of Passion self as she brok
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The Furnace at Uchhehra The first t
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The Furnace at Uchhehra it made bet
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The Furnace at Uchhehra He promised
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The Furnace at Uchhehra the front-s
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The Furnace at Uchhehra that I visi
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The Hada at Uchhehra Again and agai
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Making of Ichol
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Ambica Beri photo credit: gopika na
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Ambica Beri photo courtesy: art ich
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Ambica Beri photo credit: amitabha
Page 98 and 99: Ambica Beri photo courtesy: art ich
Page 100 and 101: Ambica Beri photo credit: srimallya
Page 102 and 103: Suraj P. Subherwal (1930 - 2015) Zg
Page 104 and 105: Suraj P. Subherwal photo courtesy:
Page 106 and 107: Suraj P. Subherwal working in torch
Page 108 and 109: Suraj P. Subherwal photo credit: am
Page 110 and 111: Narayan Sinha photo credit: srimall
Page 112 and 113: Narayan Sinha photo courtesy: art i
Page 114 and 115: Narayan Sinha photo credit: srimall
Page 116 and 117: Narayan Sinha photo courtesy: art i
Page 118 and 119: Salamat Khan photo credit: sudharak
Page 120 and 121: Salamat Khan EH$ ~ma Eogm ^r hþAm
Page 122 and 123: Aditya Beri photo credit: sudeep se
Page 124 and 125: Aditya Beri Tiwari ji. Salamat and
Page 126 and 127: Anshuman Beri photo credit: bandeep
Page 129: The Album
Page 133: The Album
Page 137 and 138: The Ceramic Centre
Page 139 and 140: The Kiln Gods The idea of a Ceramic
Page 141 and 142: The Kiln Gods Aditi’s concept was
Page 143 and 144: The Kiln Gods Bhavan and a very abl
Page 145: The Kiln Gods On their return the w
Page 150 and 151: july ‘THEN AND NOW’ Drawings on
Page 152 and 153: ‘FRAMED NARRATIVES’ NARAYAN SIN
Page 154: Ra o’s draw ings com mu nicate th
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