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Fresco from Ajanta, c. 450-500

Indian Art is the visual art produced on the Indian subcontinent from about the 3rd millennium BC to modern times. To viewers schooled in the Western tradition, Indian art may seem overly ornate and sensuous; appreciation of its refinement comes only gradually, as a rule. Voluptuous feeling is given unusually free expression in Indian culture. A strong sense of design is also characteristic of Indian art and can be observed in its modern as well as in its traditional forms.

The vast scope of the art of India intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts.

Indian art can be classified into specific periods each reflecting particular religious, political and cultural developments.

• Ancient period (3900 BCE-1200 CE)
• Islamic ascendancy (1192-1757)
• Colonial period (1757–1947)
• Independence and the postcolonial period (Post-1947)

Jewelry[link]

Pair of gold earings 1st Century B.C Andhra Pradesh.

The Indian subcontinent has the longest continuous legacy of jewellery-making, with a history of over 5,000 years.^[1] One of the first to start jewellery-making were the peoples of the Indus Valley Civilization. Early jewellery making in China started around the same period, but it became widespread with the spread of Buddhism around 2,000 years ago.

Temple and Sculpture-art[link]

Apsara, Dancing Celestial 10th Century.

Indian rock art has continuously evolved, since the first rock cut caves, to suit different purposes, social and religious contexts, and regional differences. Obscurity shrouds the period between the decline of the Harappans and the definite historic period starting with the Mauryas, and in the historical period, the earliest Indian religion to inspire major artistic monuments was Buddhism. Though there may have been earlier structures in wood that have been transformed into stone structures, there are no physical evidences for these except textual references. Soon after the Buddhists initiated the rock-cut caves, Hindus and Jains started to imitate them at Badami, Aihole, Ellora, Salsette, Elephanta, Aurangabad and Mamallapuram.

Buddhist art first developed during the Gandhara period and Amaravati Periods around the first century BCE. It flourished greatly during the Gupta Periods and Pala Periods that comprise the Golden Age of India. Although the most glorious art of these Indian empires was mostly Buddhist in nature, subsequently Hindu Empires like the Pallava, Chola, Hoysala and Vijayanagara Empires developed their own styles of Hindu art as well.

There is no time line that divides the creation of rock-cut temples and free-standing temples built with cut stone as they developed in parallel. The building of free-standing structures began in 5th century, while rock cut temples continued to be excavated until the 12th century. An example of a free-standing structural temple is the Shore Temple, a part of the Mahabalipuram World Heritage Site, with its slender tower, built on the shore of the Bay of Bengal with finely carved granite rocks cut like bricks and dating from the 8th century.^[2][3]

Bronze Sculpture[link]

Bronze Statue of Nataraja at the Metropolitan Museum of Art, New York City

The Chola period is also remarkable for its sculptures and bronzes.^[4] Among the existing specimens in the various museums of the world and in the temples of South India may be seen many fine figures of Siva in various forms, Vishnu and his consort Lakshmi, Siva saints and many more.^[5]

Chola bronzes were created using the lost wax technique.^[6] It is known in artistic terms as "Cire Perdue". The Sanskrit Shilpa texts call it the Madhu Uchchishtta Vidhana.

Indian fresco[link]

Ajanta, 2nd Century B.C.

The tradition and methods of Indian cliff painting gradually evolved throughout many thousands of years - there are multiple locations found with prehistoric art. The early caves included overhanging rock decorated with rock-cut art and the use of natural caves during the Mesolithic period (6000 BC). Their use has continued in some areas into historic times.^[7] The Rock Shelters of Bhimbetka, a World Heritage Site, are on the edge of the Deccan Plateau where deep erosion has left huge sandstone outcrops. The many caves and grottos found there contain primitive tools and decorative rock paintings that reflect the ancient tradition of human interaction with their landscape, an interaction that continues to this day.^[8] The oldest frescoes of historical period have been preserved in Ajanta Caves from 2nd century BC. Despite climatic conditions that tend to work against the survival of older paintings, in total there are known more than 20 locations in India with paintings and traces of former paintings of ancient and early medieval times (up to 8th - 10th century AD).^[9] The most significant frescoes of the ancient and early medieval period are found in the Ajanta, Bagh, Ellora, and Sittanavasal caves.

The Chola fresco paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.

Researchers have discovered the technique used in these frescoes. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.

During the Nayak period the chola paintings were painted over. The Chola frescoes lying underneath have an ardent spirit of saivism is expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.

Kerala mural painting has well preserved fresco or mural or wall painting in temple walls in Pundarikapuram, Ettumanoor and Aymanam and elsewhere.

Miniature painting[link]

Mughal painting in miniatures on paper developed very quickly in the late 16th century from the combined influence of the existing miniature tradition and artists trained in the Persian miniature tradition imported by the Mughal Emperor's court. New ingredients in the style were much greater realism, especially in portraits, and an interest in animals, plants and other aspects of the physical world. Miniatures either illustrated books or were single works for muraqqas or albums of painting and Islamic calligraphy. The style gradually spread in the next two centuries to influence painting on paper in both Muslim and Hindu princely courts, developing into a number of regional styles often called "sub-Mughal", including Kangra painting and Rajput painting, and finally Company painting, a hybrid watercolour style influenced by European art and largely patronized by the people of the British raj.

Folk and tribal art[link]

Folk and tribal art in India takes on different manifestations through varied medium such as pottery, painting, metalwork,dhokra art, paper-art, weaving and designing of objects such as jewelry and toys.

Often puranic gods and legends are transformed into contemporary forms and familiar images. Fairs, festivals, and local deities play a vital role in these arts.

It is in art where life and creativity are inseparable. The tribal arts have a unique sensitivity, as the tribal people possess an intense awareness very different from the settled and urbanized people. Their minds are supple and intense with myth, legends, snippets from epic, multitudinous gods born out of dream and fantasy. Their art is an expression of their life and holds their passion and mystery.

Folk art also includes the visual expressions of the wandering nomads. This is the art of people who are exposed to changing landscapes as they travel over the valleys and highlands of India. They carry with them the experiences and memories of different spaces and their art consists of the transient and dynamic pattern of life. The rural, tribal and arts of the nomads constitute the matrix of folk expression.

The Taj Mahal built by the Mughals.

The folk spirit has a tremendous role to play in the development of art and in the overall consciousness of indigenous cultures. The Taj Mahal, the Ajanta and Ellora caves have become world famous. The Taj Mahal is one of the New Seven Wonders of the World.

Art in the British period[link]

Tipu's Tiger, an 18th-century automata with its keyboard visible in the Victoria and Albert Museum, London.

British colonial rule had a great impact on Indian art. The old patrons of art became less wealthy and influential, and Western art more ubiquitous. Abanindranath Tagore (1871–1951), referred to as the father of Modern Indian art introduced reworked Asian styles, in alignment with a developing Indian nationalism and pan_Asianism to create a new school of art, which is today known as the Bengal school of art. Other artists of the Tagore family, such as Rabindranath Tagore (1861–1941) and Gaganendranath Tagore (1867–1938) as well as new artists of the early 20th c such as Amrita Sher-Gil (1913–1941) were responsible for introducing Avant garde western styles into Indian Art. Many other artists like Jamini Roy and later S.H. Raza took inspiration from folk traditions.

In 1947 India became independent of British rule. A group of six artists - K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and Francis Newton Souza - founded the Progressive Artist's Group, to establish new ways of expressing India in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Manishi Dey, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, Devender Singh, Akbar Padamsee, John Wilkins, Himmat Shah and Manjit Bawa. Present-day Indian art is varied as it had been never before. Among the best-known artists of the newer generation include Sanjay Bhattacharya, Bose Krishnamachari, Narayanan Ramachandran, Satish Gupta, Nikhil Bhandari and Bikash Bhattacharya. Another prominent Pakistani modernist was Ismail Gulgee, who after about 1960 adopted an abstract idiom that combines aspects of Islamic calligraphy with an abstract expressionist (or gestural abstractionist) sensibility.

Contemporary art[link]

Three Girls, by Amrita Sher-Gil, 1935, now at the National Gallery of Modern Art in New Delhi

From the 1990s onwards, Indian artists began to increase the forms they used in their work. Painting and sculpture remained important, though in the work of leading artists such as Subodh Gupta,Narayanan Ramachandran, Vivan Sundaram, Jitish Kallat, Jagannath Panda, Atul and Anju Dodiya, T.V.Santosh,Vagaram choudhary, Bhupat Dudi, Sunil Gawade, Bharti Kher and Thukral and Tagra, Ranbir Kaleka, they often found radical new directions. Bharti Dayal has chosen to handle the traditional Mithila painting in most contemporary way and created her own style through the exercises of her own imagination, they appear fresh and unusual .

Contemporary Indian art takes influence from all over the world. With many Indian artists immigrating to the west, art for some artists has been a form of expression merging their past with their current in western culture. As Shyamal Dutta Ray^{[citation needed]} was concerned about Bengal and village life, new artists like Shreya Chaturvedi feels art should speak for itself. She believes modern art must communicate with the general public, connecting to them and motivating them through some great idea or message behind it.^{[citation needed]}

Also, the increase in the discourse about Indian art, in English as well as vernacular Indian languages, appropriated the way art was perceived in the art schools. Critical approach became rigorous, critics like Geeta Kapur, Shivaji K. Panikkar, Ranjit Hoskote, Nanak Ganguly, and Suresh Jayaram, amongst others, contributed to re-thinking contemporary art practice in India. The last decade or so has also witnessed an increase in Art magazines like Art India (from Bombay), Art & Deal (New Delhi, edited and published by Siddharth Tagore), Indian Contemporary Art Journal (From Bombay - Edited and Published by Rajendra ) 'Art Etc.' (from Emami Chisel, edited by Amit Mukhopadhyay) complementing the catalogues produced by the respective galleries.

See also[link]

• Culture of India
• Indian painting
• Indian architecture
  • Indian vernacular architecture
• Rasa (art)
• Pseudorealism
• The Arts Trust - Institute of Contemporary Indian Art
• The Dictionary of Indian Art and Artists (book)
• Bengal school of art
• Patna School of Painting or Patna Qalaam
• Raqs Media Collective
• Art Alive Gallery, New Delhi
• Bose Pacia Gallery
• Talwar Gallery

Further reading[link]

• Abanindranath Tagore (1914). Some Notes on Indian Artistic Anatomy. http://www.archive.org/stream/cu31924020549725#page/n1/mode/2up. 
• Blacker, J. F. (1922). The ABC of Indian Art. Stanley Paul & Co., London. http://www.archive.org/stream/cu31924022942944#page/n7/mode/2up. 
• Coomaraswamy, Ananda K. (1914). Viśvakarmā ; examples of Indian architecture, sculpture, painting, handicraft. London. http://www.archive.org/stream/cu31924022942993#page/n3/mode/2up. 
• Havell, E. B. (1907). Essays on Indian art, industry & education. G. A. Natesan & Co. , Madras. http://www.archive.org/stream/essaysonindianar00haveiala#page/n1/mode/2up. 
• Havell, E. B. (1920). The Ideals of Indian art. E. P. Dutton and Co., New York. http://www.archive.org/stream/idealsofindianar00haveuoft#page/n5/mode/2up. 
• Havell, E. B. (1908). Indian sculpture and painting. John Murray, London. http://www.archive.org/stream/cu31924016181798#page/n9/mode/2up. 
• Havell, E. B. (1920). A Handbook of Indian Art. John Murray, London. http://www.archive.org/stream/handbookofindian002882mbp#page/n5/mode/2up. 
• Smith, Vincent A. (1930). A History Of Fine Art In India And Ceylon. The Clarendon Press, Oxford. http://www.archive.org/stream/historyoffineart035424mbp#page/n7/mode/2up. 

References[link]

• Harsha V. Dehejia, The Advaita of Art (Delhi: Motilal Banarsidass, 2000, ISBN 81-208-1389-8), p. 97
• Kapila Vatsyayan, Classical Indian Dance in Literature and the Arts (New Delhi: Sangeet Natak Akademi, 1977), p. 8
• Mitter, Partha. Indian Art (Oxford: Oxford University Press, 2001, ISBN 0-19-284221-8)

External links[link]

Wikimedia Commons has media related to: Art of India

Wikibooks has a book on the topic of Visual Arts Of The Indian Subcontinent

• India Art Architecture Heritage Online Exhibition
• India: The Living Arts - The Canadian Museum of Civilization
• Central Indian pictures, Garhwal painting, Kangra painting, Mughal painting
• Twentieth Century Indian Art
• Twentieth Century Indian Art in Mukul Dey Archives
• Which Way Indian Art? by Mukul Dey
• Gond Tribal Art
• Kalpa:vraksha
• [1] Bastar's Lost wax Dhokra arts
• Portal on Indian Arts

The topic of this article may not meet Wikipedia's general notability guideline. Please help to establish notability by adding reliable, secondary sources about the topic. If notability cannot be established, the article is likely to be merged, redirected, or deleted. (May 2011)

Jitish Kallat is an Indian artist who works in varied media. He was born in 1974 in Mumbai (Bombay). He received his Bachelor of Fine Arts degree in painting from the Sir Jamsetjee Jeejebhoy School of Art in Mumbai in 1996.

Kallat's work incorporates varied media including painting, large-scale sculpture installations, photography, and video art. He employs a bold and vivid visual language that references both Asian and European artistic traditions, along with popular advertising imagery that fuels urban consumerism. Kallat regularly exploits images and materials chanced upon around Mumbai's sprawling metropolis, affording his works an inherent spontaneity and a handcrafted aesthetic. He unites these various media through themes that endure within Kallat's work, such as the relationship between the individual and the masses. He references his own personal experiences and those of Mumbai's other inhabitants. His work speaks of both the self and the collective, fluctuating between intimacy and monumentality, and characterized by contrasting themes of pain, hope and survival.^[1]

References[link]

1. ^ http://www.art-interview.com/Issue_015/interview_Kallat_Jitish.html

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2011)

• Jitish Kallat's Official Website [1]
• Also visit Haunch of Venison to access his work [2]
• Bio details, India Foundation for the Arts
• Jitish Kallat at Gallery Nature Morte
• Paintings by Jitish Kallat
• Layered tapestry, The Hindu, January 21, 2001
• Further information, images and texts from the Saatchi Gallery
• Jitish Kallat's 'Public Notice 3' exhibition [3]
• Jitish Kallat's 'Likewise' show at ARNDT Berlin [4]
• Jitish Kallat Interview with Bad At Sports [5]
• Jitish Kallat Interview with Quadrilogy 'The Layering of Unintended Meanings' [6]
• Jitish Kallat Interview with curator Dr. Madhuvanti Ghose [7]
• Jitish Kallat Jury Interview with Metamatic Research Initiative [8]
• Jitish Kallat: Public Notice 2 at Hall of Nations, Kennedy Center [9]

Subodh Gupta (born in 1964) is an artist based in New Delhi. He was born in Khagaul, land famous for ancient mathematician Aryabhatta in Patna. He studied at the College of Art, Patna in 1983–1988, before moving to New Delhi where he currently lives and works. Trained as a painter, he went on to experiment with a variety of media. His work encompasses sculpture, installation, painting, photography, performance and video. He is married to artist Bharti Kher.

Work[link]

Subodh Gupta is best known for incorporating everyday objects that are ubiquitous throughout India, such as the steel tiffin boxes used by millions to carry their lunch as well as thali pans, bicycles, and milk pails. From such ordinary items the artist produces sculptures that reflect on the economic transformation of his homeland and which relate to Gupta's own life and memories. As Gupta says: 'All these things were part of the way I grew up. They are used in the rituals and ceremonies that were part of my childhood. Indians either remember them from their youth, or they want to remember them.'^[1] And: 'I am the idol thief. I steal from the drama of Hindu life. And from the kitchen - these pots, they are like stolen gods, smuggled out of the country. Hindu kitchens are as important as prayer rooms.'^[2]

Gupta transforms the icons of Indian everyday life into artworks that are readable globally. He is among a generation of young Indian artists whose commentary tells of a country on the move, fuelled by boiling economic growth and a more materialistic mindset. Gupta's strategy of appropriating everyday objects and turning them into artworks that dissolve their former meaning and function brings him close to artists like Duchamp; The Guardian called him 'the Damien Hirst of Delhi.'^[3] He succeeds in finding an art language that references India and at the same time can be appreciated for its aesthetic throughout world; as Gupta says: 'Art language is the same all over the world. Which allows me to be anywhere.'^[4]

One of his recent major works, consisting of Indian cooking utensils, is 'Line of Control' (2008), a colossal mushroom cloud constructed entirely of pots and pans. The work was shown in the Tate Triennial at Tate Britain in 2009.

Painting is also an important part of Subodh Gupta's art practice. His series 'Still Steal Steel' consists of photorealistic paintings of kitchen utensils falling and moving in space. In his early paintings, Gupta used another element of Indian every day life, cow dung. This is used in India for building houses and as fuel for cooking fires. Moreover, it is a cleaning agent. The idea that cow dung is inherently clean is ingrained in rural India. There, it is a purifying element, both ritual and symbolic. In his video 'Pure' (2000, 9 min.), Gupta takes the detergent concept literally and has filmed himself taking a shower, to free himself of the thick layer of dung that covers his body.

An earlier series of paintings is 'Saat Samunder Paar'. Baggages, migration and the "return home" have been enduring concerns of Subodh Gupta. It is a theme that crystallised in works such as 'Across the Seven Seas' (2006) where he uses baggage trolleys of modern airports to allude to the grim historical reality of migration from India, especially from his home state of Bihar.

In works that Subodh Gupta presented at Hauser & Wirth in October 2009, the artist moved away from composite sculptures toward objects that possess an auratic quality. Ready-made commodities experience transformations in scale and material. Relations to European art history were now to be found. Among the new works is a three-dimensional reworking in bronze of Duchamp's mustachioed Mona Lisa 'L.H.O.O.Q.' (1919).

His oil on canvas painting 'Saat Samundar Paar' went under the hammer for Rs 3.4 crores in the Saffronart autumn online auction.^[5] In 2008, he along with several other artists raised 3.93 crores for Bihar flood victims.^[6]

In 2010, Gupta designed the stage set for the ballet CREATION 2010 by Angelin Preljocaj, the French choreographer. The ballet was produced by the Bolshoi Theatre, Moscow, and the Ballet Preljocaj.

Recent solo exhibitions include 2011's ' Et Tu, Duchamp', at the KÖR am Kunsthalle in Vienna and ' A glass of water' at Hauser & Wirth, New York.

Subodh Gupta is represented by Hauser & Wirth.

Selected solo exhibitions[link]

2011

• A glass of water, Hauser & Wirth, New York NY
• Sara Hildén Art Museum, Tampere, Finland

2010

• Faith Matters, PinchukArtCentre, Kiev, Ukraine
• Take off your shoes and wash your hands, Tramway, Glasgow, UK
• Arario Gallery, Cheonan, Korea
• Arario Gallery, Seoul, Korea
• Et tu, Duchamp, KÖR Kunst im öffentlichen Raum Kunsthalle Wien project space, Vienna, Austria
• Gallery Nature Morte, New Delhi, India
• Hauser & Wirth, Zurich, Switzerland

2009

• Common Man, Hauser & Wirth, London, UK
• Line of Control, The Gallery of Modern Art, Brisbane, Australia

2008

• Still Steal Steel, Jack Shainman Gallery, New York City, USA
• There is always Cinema, Galleria Continua, San Gimignano, Italy
• Line of Control, Arario Beijing, China

2007

• Start.Stop, Bodhi Art Gallery, Bombay
• Silk Route, Baltic Art Centre, Newcastle upon Tyne, UK
• Idol Thief, IN SITU - Fabienne Leclerc, Paris, France

2006

• Hungry God, Gallery Nature Morte, New Delhi
• Artes Mundi Prize, Cardiff National Museum, UK

2005

• Jootha, IN SITU - Fabienne Leclerc, Paris, France
• I go home every single day, Jack Shainman Gallery, New York NY, USA
• Jootha, Sakshi Gallery, Mumbai, India

2004

• I go home every single day, The Showroom Gallery, London, UK

'2003

• Saat Samunder Paar, Gallery Nature Morte, New Delhi, India
• This side is the other side, Art & Public, Geneva, Switzerland

2000

• Recent Works, Gallery Nature Morte, New Delhi, India

1999

• Recent Works, Gallery Foundation for Indian Art, Amsterdam, Netherlands

1997

• Bose Pacia Modern, New York NY, USA
• The Way Home, Gallery Chemould, Mumbai, India

1996

• Grey Zones, Jehangir Art Gallery, Mumbai, India

Selected group exhibitions[link]

2011

• Beijing Online Inlive. 10 Hands 100 Fingers, Beijing, China
• Camulodunum, Firstsite, Colchester, England
• One, Another, FLAG Art Foundation, New York NY
• Home Spun, Devi Art Foundation, New Delhi, India
• Artzuid 2011, Avenues of Berlage's Plan-Zuid, Amsterdam, Netherlands
• Indian Highway V, MAXXI Museo Nazionale delle Arti del XXI Secolo, Rome, Italy (Travelling Exhibition)
• Eating Art: From Goya to Ferran Adrià, La Peddrera, CatalunyaCaixa, Barcelona, Spain
• In Praise of Doubt, Punta della Dogana, François Pinault Foundation, Venice, Italy
• Paris-Delhi-Bombay, Centre Pompidou, Paris, France
• Indian Highway IV, Lyon Museum of Contemporary Art, Lyon, France (Travelling Exhibition)
• Time Unfolded, Kiran Nadar Museum of Contemporary Art, New Delhi, India

2010

• Hareng Sauer: Ensor and Contemporary Art, S.M.A.K - Stedelijk Museum voor Actueke Kunst, Ghent, Belgium
• REM(A)INDERS, Galleria Continua, Beijiing, China
• Da Sopra, Castello Svevo di Bari, Bari, Italy
• C'est La Vie. Vanities from Caravaggio to Damien Hirst, Fondation Dina Vierny, Paris, France
• The Empire Strikes Back: Indian Art Today, The Saatchi Gallery, London, England
• Contemplating the Void, Guggenheim Museum, New York NY

2009

• The Sixth Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia
• Altermodern. Tate Triennial 2009, Tate Britain, London, UK
• Un certain État du Monde?, The Garage Centre for Contemporary Culture in Moscow, Russia
• The 4th Fukuoka Asian Art Triennial, Fukuoka Asian Art Museum, Fukuoka, Japan
• Chalo! India: A New Era of Indian Art, Essl Museum, Klosterneuburg, Austria (Travelling Exhibition)
• Indian Highway, Astrup Fearnley Museum, Oslo, Norway (Travelling Exhibition)
• Chalo! India: A New Era of Indian Art, National Museum of Contemporary Art, Seoul, Korea (Travelling Exhibition)

2008

• Lustwarande 08 - Wanderland. 3rd Edition Lustwarande, Park de Oude Warande & Museum De Pont, Tilburg, Netherlands
• Re-imagining Asia. A Thousand Years of Separation, Haus der Kulturen der Welt, Berlin, Germany (Travelling Exhibition)
• Distant Nearness, The Nerman Museum of Contemporary Art at Johnson Community College, Kansas City KS
• Aurum. Gold in der zeitgenössischen Kunst, Centre PasquArt, Biel, Switzerland
• Martian Museum of Terrestrial Art, Barbican Art Gallery, London, England
• Heavy Metal: The Inexplicable Lightness of a Material, Kunsthalle zu Kiel, Kiel, Germany
• India Moderna, Institut Valencia d'Art Modern, Valencia, Spain
• God & Goods – Spirituality and Mass Confusion, Villa Manin, Udine, Italy
• Indian Focus. Artistes Indiens Contemporains dans la Collection de Claude Berri, Espace Claude Berri, Paris, France
• Chalo! India: A new Era of Indian Art, Mori Art Museum, Tokyo, Japan (Travelling Exhibition)
• Indian Highway, Serpentine Gallery, London, England (Travelling Exhibition)
• Where in the World, Devi Art Foundation, New Delhi, India

2007

• Sequence 1. Painting & Sculpture from the François Pinault Collection, Palazzo Grassi, Venice, Italy
• Edge Of Desire: Recent Art in India, National Gallery of Modern Art, Mumbai, India (Travelling Exhibition)
• New Delhi – New Wave, Primo Marella Gallery, Milan, Italy
• India: Public Places / Private Spaces, The Newark Museum, Newark NJ, USA

2006

• Hungry God, Art Gallery of Ontario, Toronto, Canada
• Sequence 1. Painting and Sculpture from the François Pinault Collection, Venice, Italy
• Altered, Stiched & Gathered, P.S.1 MoMA, New York NY, USA
• Venice – Istanbul, Istanbul Modern, Istanbul, Turkey
• Taipei Biennial 2006, China
• Lille 3000, Lille, France
• Edge Of Desire: Recent Art in India, Montalvo Arts Center, Saratoga CA, USA (Travelling Exhibition)
• Edge Of Desire: Recent Art in India, Berkeley Art Museum, Berkeley CA, USA (Travelling Exhibition

2005

• Edge of Desire: Recent Art in India, Queens Museum of Modern Art, Queens NY (Travelling Exhibition)
• Edge of Desire: Recent Art in India, The Asia Society, New York NY (Travelling Exhibition)
• 51st Venice Biennale, Italy
• Weightless Space, The Herzliya Museum Of Contemporary Art, Israel
• The Moscow Biennale of Contemporary Art, Dialectics of Hope, Russia
• Universal Experience: Art, Life and the Tourist's Eye, Museum of Contemporary Art, Chicago IL, USA (Travelling Exhibition)
• Universal Experience: Art, Life and the Tourist's Eye, Hayward Gallery, London, England (Travelling Exhibition)

2004

• Indian Video Art: History in Motion, Fukuopka Asian Art Museum, Fukuoka, Japan
• Edge Of Desire: Recent Art in India, The Art Gallery Of Western Australia, Perth, Australia
• Vanitas Vanitatum, Sakshi Gallery, Mumbai, India

2003

• 8. Biennale Havanna, Cuba
• Body. City. Citing Contemporary Culture in India, House of World Cultures, Berlin, Germany
• The Tree from the Seed, Contemporary Art from India, Henie Onstad Kunstsenter, Høvikodden, Norway

2002

• Creative Space, Sakshi Gallery at Habitat Centre, New Delhi, India
• Self: Contemporary Indian Video Art, IMA - Institute of Modern Art, Brisbane, Australia
• Inaugural Show, Palais de Toyko, Paris, France
• Kapital & Karma, Kunsthalle Wien, Vienna, Austria
• Photosphere, Gallery Nature Morte, New Delhi, India

2001

• Post Production (Sampling, Programming & Displaying), Galleria Continua, San Gimignano, Italy
• Context as Content – Museum as Metaphor – Museum of Fine Art, Museum of Fine Art, Chandigarh, India (Travelling Exhibition)
• Context as Content / Museum as Metaphor, Gallery Nature Morte, New Delhi, India (Travelling Exhibition)

2000

• Vilas, Birla Academy, Mumbai, India
• Kwangju Biennial, Korea
• Invisible Boundary: Metamorphosed Asian Art, Utsunomiya Museum of Art, Japan

1999

• Fukuoka Asian Art Triennial, Fukuoka, Japan
• Of, based on, or obtained, Gallery Nature Morte, New Delhi, India

1998

• New Millenum, New Media, Jehangir Art Gallery, Mumbai, India

1997

• UNESCO-ASHBERG Bursaries for Artists hosted by InIVA, Gaswork Studios, London, England
• Points of Contact, Shirley Fiterman Gallery, New York NY, USA
• Khoj International Artists Exhibition, British Council, New Delhi, India

1996

• Indo-Cuban Exhibition of Contemporary Art, Lalit Kala Academy, New Delhi, India

1995

• Nessuno Tocchi Caino (Hands off Cain,), La Biennale di Venezia, Venice, Italy

Selected works[link]

• Et tu, Duchamp?, black bronze, 114 x 88 x 59 cm, 2009
• Jeff the Koons, aluminium, painted, 2009
• Aam Aadmi, painted bronze mangoes, 2009
• Wall, fibreglass cast of tree and wall, 2009
• Spooning, 2 cast spoons, stainless steel, 34 x 275 x 52 cm, 2009
• Line of Control, stainless steel utensils, 10 x 10 x 10 m, 2008
• Date by Date, installation, 2008
• Mind shut down, skull of stainless steel utensils and old utensils, 240 x 150 x 205 cm, 2008
• Still Steal Steel #9, oil and enamel on canvas, 198 x 364 cm, 2008
• Still Steal Steel #8, oil and enamel on canvas, 198 x 364 cm, 2008
• School, 45 brass cast stools and stainless steel utensils, installation, 2008
• Gandhi's Three Monkeys, bronze, old utensils, steel, three heads, one with terrorist mask, one with military helmet, one with gas mask, 2007–2008
• Faith matters, sushibelt with cooking utensils, 2007–2008
• U.F.O., brass and stainless steel utensils, 2007
• 1 kg War, 1 kg gold, 24 carat, 2007
• Potato Eaters, bronze potatoes, plastic bag, 45 x 35 x 15 cm, 2007
• Bhandarghar, Indian pots, metal, ropes, 2007
• Leap of Faith, stainless steel buckets, 700 x 180 x 180 cm, 2006
• Cheap Rice, life size rickshaw, brass utensils, metal, 170 x 120 x 280 cm, 2006
• Very Hungry God, skull of stainless steel utensils, 2006
• Across Seven Seas, conveyor belt with luggage cast in bronze and aluminium, 2006
• Curry, stainless steel utensils, 5 cabinets, 360 x 270 x 330 cm each cabinet, 2006
• Cow, lifesize aluminium and bronze cast from bicycle and milk pails, 2005
• Everything is Inside, taxi roof, luggage cast in bronze, 162 x 276 x 104 cm, 2004
• Doot, lifesize aluminium cast of an Ambassador car, 2003
• Saat Samunder Paar VII, oil on canvas, 167 x 228 cm, 2003
• Bihari, cow dung, acrylic, sequence light on handmade paper, 109 x 76 cm, 1999
• How to spell cow in Hindi (III), oil, acrylic, cowdung on canvas, 225 x 153 cm, 1999

Selected films and performances[link]

• Still Life Juggler, film on DVD, 1:50', 2008
• All Things are Inside, film on DVD, 4:30', 2007
• Haasil, appeared in his friend Tigmanshu Dhulia's film, 2003
• Pure (I), performance at Khoj workshop, Modi Nagar, India, 1999
• Pure, video on DVD, 9', 1999

See also[link]

• Gallery Nature Morte's Subodh Gupta page for biography, curriculum vitae and images.
• hauserwirth.com^[7]

Biography, bibliography, images and press - Subodh Gupta

• artfacts.net^[8]

Additional information and images – Subodh Gupta

• artnet.com^[9]

Various other resources and images – Subodh Gupta

• artists-org^[10]

Modern and contemporary artists and art – Subodh Gupta

• artpublic.ch^[11]

Raised in the northern province of Bihar (India's poorest and most violent) Subodh Gupta spent his formative years traveling with a Hindi language theatre group, working as a set designer and fabricator as well as an actor.

• bbc.co.uk^[12]

In her exhibition entitled Around and Around 1000 Times, Schandra Singh presents large-scale paintings that address the issue of escapism as a means of coping with suffering.

• paletteartgallery.com^[13]

Subodh Gupta was born in Khagaul, Bihar. He did his BFA (Painting) from the College of Art Patna. He has had several solo shows including one at Bose Pacia Modern, New York in 1997.

• jackshainman.com^[14]

American Gallery representing Subodh Gupta – additional images and information on past and current exhibitions

• universes-in-universe.de^[15]

• The installation refers to Indian workers in the Gulf States. On their way home after months of slaving away and living in the closest of quarters, they proudly carry their acquisitions with them in such cartons (never in suitcases).

• saatchigallery.com^[16]

Whilst the skull on everyone's lips of late has been Damien Hirst's diamond-encrusted 'For the Love of God', the skull exciting many people at the Venice Biennale is by Indian artist Subodh Gupta. 'Very Hungry God', an enormous skull made out of stainless steel utensils, was first exhibited in Paris in 2006 and is now in the collection of François Pinault. 'Very Hungry God' is currently on view by the Grand Canal outside Pinault's Palazzo Grassi in Venice. Subdoh explains here the background to this work.

• manchesterinternationalfestival.com^[17]

Subodh Gupta is one of India's most prolific artists and has participated in numerous highly-acclaimed international exhibitions. Gupta works in a wide range of mediums from sculpture and painting to installation, photography, video and performance.

• asianart.com^[18]

New Perspectives From India – images of work by contemporary Indian artists, including work of Subodh Gupta

• artsmundi.org^[19]

Subodh Gupta works in a wide range of mediums from sculpture and painting to installation, photography, video and performance. He elevates the status of found objects from everyday items to artworks; using the products of rural India such as cow dung, milk buckets, kitchen utensils, scooters, guns and gulal powder as his materials.

References[link]

External links[link]

• Subodh Gupta at Hauser & Wirth
• Subodh Gupta at Gallery Nature Morte
• Subodh Gupta Solo review at Arario on The Arts Trust Online Magazine
• Subodh Gupta on ArtNet.com
• More information and images from the Saatchi Gallery
• Further images and biography from Jack Shainman
• Galleria Continua