The ‘Pratipada’ event was organized by Sanskar Bharti, Delhi Province. Padma awardees Nalini-Kamalini were chief guests at the cultural event.
The Indian New Year Utsav, Vikrami Samvat 2081 concluded with grand festivities at Sur Ghat, Delhi, marking the ‘New Year Pratipada’ celebration organized by Sanskar Bharti, Delhi Province.
National Convener of Pragya Pravah, J. Nandkumar was present along with renowned dancers and Padma awardees Nalini-Kamalini, who were the esteemed chief guests. Member of Parliament Manoj Tiwari and former Mayor Harsh Malhotra also attended the function.
The programme commenced with a mesmerizing performance by the acclaimed santoor player Abhay Sopori. The event featured hymn recitals, captivating dance performances and poetry readings. As the sun rose, devout attendees offered water to Lord Sun and lit lamps as a symbolic gesture of devotion.
J. Nandkumar emphasized the time-honoured tradition of celebrating the Indian New Year, highlighting the deep-rooted cultural heritage of India and urging all Sanatanis to uphold this tradition.
THE Spring Fest 2024 lit up IIT Kharagpur from Jan 26 -28
In a spectacular show of culture and creativity, Spring Fest 2024 illuminated the Indian Institute of Technology (IIT) Kharagpur from January 26- 28, 2024. Crafted meticulously by the students, this 65th edition unfolded under the resplendent theme, Downtown Delirium – A Kaleidoscope of Urban Vision, transforming the campus into a vibrant tapestry of youthful exuberance.
Some of the highlights of the mega event were a live canvas painted with artistic brilliance.
The Spring Fest showcased over 100 events, transcending boundaries in dance, music, dramatics, fashion, literature, film, quiz, fine arts, humour and culinary arts. Numerous Indian and international artists like Casem from England, Mr Joker from Canada, Aaron Bunac, Zelda Lourens, Tiago Taborda to name a few, performed for the fest. People witnessed a shining guest panel of Radhakrishnan Pillai, celebs like Natasha Bhardwaj, Rohan Khurrana, Priya Banerjee, Akashdeep Arora, and many others at Spring Fest 2024. Welcoming a vibrant congregation of attendees and participants from colleges, it became a pulsating hub for emerging talents.
The nights came alive with the grandeur of ‘Pronites,’ as each moment etched in the young minds who termed the event unforgettable. The Anubhav Night with Mohammed Irfan, the EDM Night with RAVATOR and The Pal Night with Salim Sulaiman turned the campus into a pulsating epicentre of music and rhythm, leaving an indelible imprint on everyone present.
From the rhythmic beats of Shuffle and Centrifuge to the riveting narratives of Nukkad and the electrifying performances of Wildfire, the competitions embodied a celebration of excellence. The Fashion Fest, boasting Panache, Mr and Mrs SF, Navyata, and Stash and Show, not only added glamour but also showcased the finesse of our participants with prizes worth 5.6 lakhs and a total of prizes worth more than 40 lakhs.
Fuelled by the dynamic energy of Nomura and Timex, the Spring Fest had a long row of patrons and supporters. It was adorned with the esteemed title sponsorship of Boat. Coca-Cola, TATA Steel, Jharkhand Tourism, NSDC and Uttar Pradesh Tourism lent their support, creating a symphony of collaboration that elevated the festival leaving the youth happy and awe-struck.
P. Gnana’s art engages the discipline of form and texture succinctly, returning his viewers to the primal wonders of life. Rendering a strong visual language to stages of infancy and spiritual awakenings, the artist works through metaphors. The aesthetics in his work brings out a sharp volume in the matriarch figure, where the figure adorns the child by offering a physical and metaphysical sanctuary. As one looks through his creations, one encounters a deep sense of pride in the beauty of camaraderie and bonding. To him, perhaps, this blinding sense of faith in interpersonal relationships remain intact and clouded in the ambiguous nature of its own enactments and attachments as variable experiences.
Again, this ambiguity also extends itself to the idea of consequences, which can be seen as possible inferences to death or, even, finality. The eyes of his figures remain shut, almost content. For instance, the blurring adds a dark established semantics to the closed eyes and one can see the portrayal as definite. The finality in their visage is a promise of the contentment that death has to offer as often described in the belief of ‘life after death’ or, perhaps, the importance laid on the sense of completion. One may wonder if this completion is a semantical investment in the idea of life cycles – maybe, even an investment into the idea of longing.
Gnana’s work views nostalgia as a technical skill, where each brush stroke reworks through vibrant colours depicting energy and consciousness. This nostalgia is the actual subject that he layers in his concerns with finality. Therefore, reverberating through bold, bright colours, the viewer is exposed to Gnana’s work as a metaphorical expression of death, nostalgia, and metaphysics.
His paintings and sculptures refer to the element of excess in South-Asian aesthetics, where he occasionally toys with a glossy finish as the final act of art-making. The glossy texture, simultaneously, projects the notion of a refreshing textural engagement which the artist serves as his take on his subjects.
Gnana’s artistic language also sheds light on the spiritual narratives. Krishna plays a pivotal role of form and philosophical engagements. His flute and his cow hold an important visual position relating with the artist’s creative realm and his insight into vast cosmic belief systems. Here, the figure of Krishna is peaceful and involved in his own love for music while music becomes Gnana’s means to engage with the Arts in a more precise manner.
Interestingly, his bold, dark skylines depict the enormity of the spiritual inclinations. They feature the depth of his spiritual vision too. Simultaneously, his engagement with family and motherhood consists of the qualities of nourishment and health.
Again, there is a tendency in the artist to partake in the aesthetics of glamour, where we are exposed to intricate embellished details on the fabric of his figures. These details are made in gold paint that add the grandeur value and, with the gloss on top, they begin to turn towards a sheen sprightlier than the other colours. Motifs of flowers, leaves, paisley, and similar other popularised vernacular embroideries on the clothing’s of his protagonists makes his paintings a commentary on the various traditional schools of art-making. Also, there are times when the artist has indulged his creations in exploring found objects, such as textile and playing cards.
Gnana’s artistic pursuits lead him through a strong sense of variants which he further elaborates in a more immediate flavour. It is particularly important to look at his personal journey that has led him to this blending in schools.
Another drama unfolds as we look through his works, where we see the beauty of his forms stage itself beyond the source of reflection. It contemplates love as an action of attachment and interacts with ‘shared’ emotions or bonds. Romance and the celestial beings in his work brings forward a realized strength of the self. He approaches the subject through a visual
language of grandiosity similar to the ‘secession’ movement in the Arts. The hint at the Apollonian structures is quite evident in his sculptures too. The drama of the tall, stretched bodies adorned in the marvels of designs and embellishments also hint at this possible influence.
– Satarupa Bhattacharya Presented by Easel Art Gallery
The 12-Day camp set to take place in Badanga village in Udaipur Rajasthan
While there are international art fairs and there are national art fairs, there is one organisation that is doing its bit for taking arts to the villages. The Common Art Institute is gearing up for the inauguration of a 12-day international art camp set to take place in Badanga village, situated in the Udaipur district of Rajasthan. This art event, designed to facilitate cultural exchange between India and various foreign nations, is scheduled to commence in the evening of February 1, 2024. The opening ceremony will be presided over by distinguished personalities such as Sanjay Upadhyay, Prof Suresh Sharma, and Prof LL Verma, as announced by camp director Dr Chiman Dangi during a press conference.
With a focus on fostering cross-cultural understanding and environmental conservation, the camp will bring together renowned artists from both India and abroad, spanning the realms of art, culture and literature. The roster of participating artists is an impressive one, featuring talents like Ducky L’Orange from Australia, Aika Ceylan from Turkey, Acunzo and Karola from the Netherlands, Karen Macher from Peru, Julia Holtman from Germany, Pamela Lyon from Poland, Mikako Kura from Japan, Celina Bonelli from Italy, Sonja Zoffo from Serbia, Ana Catalina from Romania, Julieta Mendez from Argentina, Marina from Italy, Tavia La Follette from the USA, and notable Indian artists including Bhupat Doody, Harendra Mahato, Nilesh Sidhpura, and Prof Srinivasan Iyer.
The patrons of the camp, including prof Madan Singh Rathore, have stressed the importance of incorporating local artists, particularly those showcasing tribal arts. The event will serve as a platform for the exchange of various art forms, encompassing painting, sculpture, audio-visual presentations, photography, and new media art. Project head Shyam Sundar Suthar emphasized that over 25 artists will contribute their diverse artworks, culminating in an exhibition that will be showcased in the village.
Dr Chiman Dangi, the camp director, underscored the camp’s overarching objective of promoting local art. He articulated that while contemporary art has undergone evolution, its roots are deeply embedded in the traditional folk art of rural areas. The international art camp in Badanga aspires to contribute to the ongoing narrative of art development by exposing foreign artists to the growth story of Indian art and artists. The camp aims to make them cognizant of the intricacies of rural art forms, further enriching the global artistic dialogue. In summary, the upcoming international art camp in Badanga represents a convergence of artistic minds from diverse cultural backgrounds, fostering a rich exchange of ideas and creations. It stands as a testament to the institute’s commitment to bridging the gap between traditional and contemporary art while promoting the invaluable heritage of rural artistic expressions.
With 109 Exhibitors, including 72 galleries, the fair embraced handmade and limited-edition design by pioneering studios for the first time.
India Art Fair, the prominent platform showcasing modern and contemporary art from India and South Asia, kicked off its 15th edition at the NSIC Exhibition Grounds in New Delhi with an exclusive invite-only preview. Running from February 1-4, 2024, in collaboration with BMW India, India Art Fair 2024 featured an impressive lineup of 109 exhibitors, including 72 galleries and significant regional and international art institutions.
A notable aspect of this edition was the inclusion of 31 new exhibitors, introducing seven new design studios in its inaugural collectible design section. As the largest edition to date, India Art Fair continued its commitment to showcase the best of modern and contemporary South Asian art alongside major international artists. Additionally, the fair embraced handmade and limited-edition design by pioneering studios for the first time, reinforcing its position as the leading platform for art and culture in the region.
To commemorate its 15th edition, the fair presented its most ambitious program of talks, workshops, and performances. This initiative aimed to activate the fairgrounds as a space for direct engagement with artists, designers, and arts specialists. Beyond gallery presentations, the fair featured new commissions and large-scale outdoor art projects, led by artists and supported by the fair’s network of South Asian and international arts organizations, foundations, and patrons.
In conjunction with the fair, New Delhi’s rich cultural offerings were highlighted through an extensive Parallel Programme of gallery exhibitions and activations across the city. This celebrated the vibrant arts scene of the region and beyond.
Jaya Asokan, Fair Director, India Art Fair, expressed, “For the past 15 years, the fair has been a celebration of the very best of South Asian creativity, and in 2024, we are taking this even further with our biggest edition yet and the inauguration of our very first Design section. Complementing the gallery displays, we are also hosting our most ambitious programme of commissions, projects, talks, and workshops yet, showcasing the diversity and power of artistic talent from across India and the wider region.”
The fair featured 12 international galleries showcasing renowned South Asian artists in the diaspora and those working beyond India, including names such as Rina Banerjee (1×1 Art Gallery, Dubai), Waqas Khan (Aicon, New York), Amba Sayal-Bennet (Indigo+Madder, London), Affan Baghpati (Aicon Contemporary, New York), and Arjuna Gunarathne and Firi Rahman (Saskia Fernando Gallery, Colombo). International powerhouses like Olafur Eliasson (neugerriemschneider, Berlin), Anish Kapoor (Galleria Continua, San Gimignano & 7 locations), and Ozioma Onuzulike (Marc Straus, New York) also made a significant presence.
The Platform section spotlighted the rich artistic heritage of South Asia through the works of contemporary masters of traditional arts. Six exhibitors, including Delhi Crafts Council (DCC) (New Delhi), Gallery Ragini (New Delhi), Inherited Arts Forum (New Delhi), OJAS ART (New Delhi), Serenity Arts (New Delhi / Thimpu), and Shrujan – Living and Learning Design Centre (LLDC) (Bhuj), presented diverse art forms from across the region.
A notable addition to India Art Fair was the inaugural Design section, showcasing limited edition and handmade collectible design by seven pioneering studios representing the thriving design scene in South Asia. Participants included Vikram Goyal (New Delhi), Ashiesh Shah (Mumbai), Gunjan Gupta (New Delhi), Rooshad Shroff (Mumbai), Studio Renn (Mumbai), de Gournay (London / Paris / New York / San Francisco / Los Angeles / Beirut / Shanghai), and Karishma Swali and Chanakya School of Craft (Mumbai). Alongside the Design section, the fair welcomed celebrated design galleries Carpenters Workshop Gallery (London / Paris / New York / Los Angeles) and ÆQUŌ (Mumbai) in the main Galleries section, presenting highlights from their impressive roster.
The making of an artist- a sneak peek into the trail and tribulations of sculpture Ashish Bose.
Those were the days. When the notion that a child would naturally take up the family craft, was a given. Therefore, one might assume that being born in a renowned goldsmith family, Ashish may already have had almost everything laid out for him. Not quite. On the contrary, it made Ashish’s art journey much more daunting. It took a lot of convincing his parents as to why he would not further the already established family business of gold smithery, but instead, want to become a sculptor.
“Two roads diverged in a wood, and I – I took the one less travelled by, and that has made all the difference”
Robert Frost.
Ashish was fascinated by, and loved working with clay. Ashish would eagerly wait for religious festivals, not for the sweets or the associated fun and frolic, but for the clay used for making the statues of Gods and Goddesses. The clay would be of very limited quantity but Ashish managed to get hold of some of it every time. Over the years, his love for it only grew stronger. After a lot of persuasion, his mother conceded and gave in to her son’s stubbornness. Ashish could now chase his dreams and seize them. The early years were spent in Kolkata, learning and honing the craft. Though Ashish is mostly self-taught, he had the good fortune of being under the tutelage of Jayanto Roy. Jayanto taught him to be an artist and not just a craftsman. Kolkata art circle was rather well cocooned from external influences. Unlike Kolkata, art and artists were pouring into Delhi from all parts of the country and also from abroad. Ashish craved to be part of it. Ashish had outgrown Kolkata. After paying obeisance to his guru Jayanto Roy, Ashish moved to Delhi.
Life in Delhi was hard. Money was short and Ashish had to critically curb his spending even for the smallest of spends. Ashish rented a studio apartment where he could work unfettered. However, it wasn’t easy. His work could be noisy at times. The sound of carving wood, the sound of grinding bronze and other such noises bothered the other residents. Ashish had to improvise. He bought a couple of thick mattresses and made a soft workbench out of them to minimize the sounds. While this helped cut a few decibels, noise remained a challenge. Ashish has had to change his apartment quite often. However, he remained unfazed and continued his work.
Another challenge which especially sculptors face is lack of storage space. Sculptures come in all shapes and sizes and often become a challenge if you live in a studio apartment. Ashish prefers living on the 3rd floor and moving large sculptures and installation art via the staircase was a hard task.
To add to Ashish’s woes, were the landlords, who were circumspect of the perpetual noises and material movements he was causing. Ashish knew he was being resented and had to do something before the situation got precipitous. He would therefore take newspapers and magazines (that published about him and his works), to the landlords. This worked in his favor, mostly. This gave the landlords a feeling of pride that they had rented out their apartment to someone who was famous, sort of.
Ashish Bose’s art style
Ashish is against having a static style and feels like Picasso, one must evolve and keep changing the style. Ashish works with clay, wax, wood, stone, fiberglass, bronze, transparent resin, amongst others. Ashish thinks he is able to better express himself through realistic works and facial expressions. Says Ashish, “I am of the opinion that one does not need a pithy reason to create. Your creation’s form, colour and posture, should be able to convey the story. My sculptures entwine the common man’s life with my thought process and express my confusion, solitude and several times, my opinion on several aspects of Life.”
For Ashish appreciation is the most fulfilling and rewarding thing. Galleries, he feels, provide artists with good presentation and packaging and ease the marketing significantly.
Ashish’s success mantra is perseverance. As per him, every artist lives in his own world and their work should be honest interpretations thereof.
Ashish Bose is a name to reckon with. Today, Ashish Bose sculptures are widely appreciated and sought after.
Ashish’s works
His works are on display in Sweden, Austria and USA Florida besides of course, in India. His busts exude the persona realistically. One such is that of His Holiness, Dalai Lama. A recent art installation titled ‘Into the future,’ was commissioned in the state assembly of Arunachal Pradesh. The sculpture shows Mahatma Gandhi being led by a child.
Canvas Confluence_2024, an exhibition of small format paintings by 50 artists held at Gurugram
Without being bound by theme or medium, the artists let their creativity speak
The Canvas Confluence – 2024, an exhibition of small format paintings by 50 artists from across India was rolled out at Shailja Art Gallery on 21 January, 2024 in Gurugram. The show was curated by eminent painter and writer Ashok Bhowmick. The pool of artists has created two artworks each, without being bound by any theme or medium. The artists have let their creative freedom speak and their inner voices reflect onto the 12inch x 12inch canvas.
Speaking about the exhibition, Shailja Jain, artist and founder of Shailja Art Gallery says, “With Canvas Confluence, we wanted to showcase the artworks of an untapped pool of artists who don’t often get a chance to display their works in big cities, alongside local artists. You’ll see the abstract artworks from artists of Ujjain alongside realistic paintings of Mumbai-based artists. We’ve even got artists from smaller towns like Narhe (Maharashtra), Ratlam (Madhya Pradesh), Birbhum (West Bengal), and Khordha (Odisha) that are forgotten in the public eye.”
According to Ashok Bhowmick, “We believe that many talented artists from different towns find it difficult to exhibit their works in NCR and thus remain unknown to the art world. With this show, the gallery has showcased the artworks of this untapped pool alongside local artists. The show not only represents 50 painters with their 100 works, but it also opens before us an amazing spectrum of contemporary Indian art. One will find abstract works by Akshay Ameria from Ujjain and realistic paintings by Nilisha Phad from Mumbai. Thus, the show truly becomes a confluence of artists from metros like Mumbai and Kolkata and smaller towns like Ujjain and Ratlam. Between these two poles, there exists a wide range of highly innovative forms and vibrant colour palettes reflective of present- day art.”
Shailja’s Studio was founded in October 2021 by Shailja Jain, a veteran artist. During the past two years, Shailja Studio has hosted several painting and installation exhibitions and talk shows on and by renowned artists.
Art Route Gallery conducted the solo show by Nawal Kishore in Gurugram
The Art Route Gallery conducted a solo exhibition by artist Nawal Kishore in Gurugram. The show named The Aesthetic View is based on the theme of empathy, attraction, sensuality, wonderment and compatibility in man-woman relationships. The artworks create a tapestry of life with the concepts of love, beauty and bonding. In a world seeking kindness and understanding, Kishore’s portrayal of the human relationship holds a special relevance. The show was inaugurated on October 14, 2023 by Prayag Shukla, poet and art critic and Utkarsh Veer, founder and managing director of Rocksalt on October 15, 2023 and will be on view from October 16 – October 31, 2023.
Nawal Kishore’s enigmatic human figures with stylized angular faces are ordinary men and women who, transformed by the emotion of love, celebrate life and its wholesome beauty. On peeling the layers, Kishore’s lucid characters, presented with sophistication and sensuality, reveal multiple layers of deeply profound sensitivity towards one another.
Commenting on the art of Nawal Kishore, Prayag Shukla said, “Bringing human figures into paintings has always been a challenge in art, until the human figure is communicated in a trustworthy manner, in its portraits, in its forms and in its emotions. It is satisfying that the human figure in Nawal’s paintings is not just decorative, but it touches human emotion as well.”
The artworks create a tapestry of life with the concepts of love, beauty and bonding.
Lubna Sen, director of The Art Route Gallery and curatorial advisor to the show said, “Artist Nawal Kishore draws upon the age-old philosophy of ancient Indian aesthetics and tradition of ‘rasas’ to infuse authenticity and depth into his paintings. His subjects, with their nuanced body language, resonate with sensitivity and compassion.”
Kumar’s oil or acrylic art works on canvases are a special response to India’s Modernist artist F. N. Souza, says Dr Satarupa Bhattacharya
Artist S Kumar (1980) started his journey in the Arts at a very young age because he came from a family of artists who concentrated on the making of temple art in Tamil Nadu. His grandfather, especially, influenced him in his skills. His initial training also centered around his family’s professional expertise and experiences. During his graduation, he decided to travel to Bangalore to try out his skills in making banner art for films. He made a few banners for a film by Sanjeev Rao, where he created a large God figure as a thematic focus of the film. The banner received critical appreciation and because of its large size, it also drew a lot of public attention. His father, who was teaching at the Government College of Fine Arts at the time, found his skills worth honing and he further enhanced his son’s education. Eventually, Kumar pursued and received a Master’s degree in the Fine Arts from Government College of Fine Arts, Chennai. That gave him the impetus to make more God figures and he began to push his skills and techniques to develop his own art language. Then, he went on to pursue a PhD in Fine Arts from Government College of Fine Arts, Kumbakonam.
Ganesha’s form, particularly, interested him. He has made several artworks framing the form in bright hues and sharp lines, which were further detailed in descriptive designs echoing the glamour of the temple art techniques. Then these figures began to be placed as concentrated compositions based on the artist’s reflections of the negative space and the positive space while also inclined towards an iconographic narrative. By the time he began to show his artworks to his audiences in 1997, he had already established his skills and techniques in his own art language.
Kumar’s art catered to a more nuanced aesthetic of the contemporary art practices, where the traditional God figures played a vital role in exploring the modern-day narrative on spirituality and spiritualism. He also merges his style with the Fresco style which deliberates effects and details to his work and brings out a very cheerful and bright engagement with his icons. Again, his recent collection of cityscapes draws an interesting engagement with structure and space, where he creates a close visual impact of buildings staged in a row, haphazardly performing the role of a giant with several eyes. These oil or acrylic art works on canvases are a special response to India’s Modernist artist F. N. Souza. These paintings also respond to the idea of a large landscape, where land has become an overgrown complex of brick and cement homes overlooking a probable gaping valley from where the image may have been conceived. Kumar’s composition toys with the richness of shadows and lights. He brings out the shadows as a means to explore the possibility of an alien world buried in the making of a city space. The city is not merely a sight. It is a busy space, constantly exploding into its own vacuous structures. These homes are lit from inside and hovering over each other’s structure. They might even come across as possible reflections on how the city devoids space to structure even though these structures occupy space.
Bold lines have always been very important to Kumar’s works. They have either played out an important emphasis on form occupying space or it has become a means to look at shadows. Creating textures also is an important part of his works. Almost all his works have this coarse texture on top made of scraped patches of paint brushed on top of layers of paint with a roller brush. Interestingly, these gradient textures aid to build a textural narrative of how one moves between time and space, developing a dreamlike quality intrigued by the chaos constructed through the idea of a global village. Kumar envisions this globular interaction as a means to connect the world through his art language, where he captures the layered visualisation of his real world.
The artist has been mainly working between Delhi, Dubai, and Singapore. Despite having had a long list of group shows around India, Dubai, and Singapore, he has only had one large solo display of his works. Now, he intends to showcase his artworks more often, where he would also like to display his sculptures that are quite elaborate and stylised. He is quite attracted to the idea of working with stones as it helps him broaden his primary skills of temple art. Given his interest in making art to explore his skills and techniques, Kumar’s expedition in the Arts remains to be seen at length and in depths, where one can be certain that they would whisper through the traditions to the imaginations of the immediate world.
Elaborate Prof (Dr) Achal Pandya, Head Conservation Department, Indira Gandhi National Centre of Art, Dr Swayam Prakash Tripathi Project Associate (Conservation) Indira Gandhi National Centre of Art (IGNCA), New Delhi
Poor air quality inside museums is one of the main causes influencing the state of conservation of exhibits. Even if they are mostly placed in a controlled environment because of their construction materials, the exhibits can be very vulnerable to the influence of the internal microclimate. As a consequence, museum exhibits must be protected from potential negative effects. In order to prevent and stop the process of damage of the exhibits, monitoring the main parameters of the microclimate (especially temperature, humidity, and brightness) and keeping them in strict values is extremely important. The study focuses on monitoring and analysing temperature of air and walls, relative humidity (RH), CO2, brightness and particulate matters (PM), formaldehyde (HCHO), and total volatile organic compounds (TVOC). The studies show that this environment is potentially harmful to both exposed items and people. Therefore, the number of days in which the ideal conditions in terms of temperature and RH are met are quite few, the concentration of suspended particles, formaldehyde, and total volatile organic compounds often exceed the limit allowed by the international standards in force.
The results represent the basis for the development and implementation of strategies for long-term conservation of exhibits and to ensure a clean environment for employees, restorers and visitors.
Light
Light can cause damage to collections. The amount of damage is determined by the intensity and type of light, the time of exposure, and the natural resistance of the object’s components. Light damage is not only limited to fading, overexposure can also cause weakening, discoloration, yellowing and embrittlement. Damage caused by light exposure is both cumulative and irreversible.
Light damage can be mitigated by controlling the amount of total light exposure over time. When artifacts are placed on exhibition, steps should be taken to ensure that the light exposure is controlled, monitored, and recorded. Facsimiles may also be used to avoid overexposure of the original artifact. Objects that are not on exhibit should be kept in darkness.
Ultraviolet Radiation
Ultraviolet (UV) radiation is an invisible component of many light sources including sunlight, fluorescent lights, and traditional tungsten light bulbs. It contains more energy and is therefore more damaging than visible light.
Human eyes cannot detect UV, so filtering UV will not affect the visual experience except for on certain very specific materials. Many modern white papers also contain optical brighteners, which will make paper appear slightly whiter when UV is present, but this is not a significant difference.
Measuring Light and UV
Visible light and UV can be measured with a handheld light-meter or data-logger. Less accurate light measurements can be taken with a smartphone app. Light reading should be taken slightly in front of the actual object, carefully following the manufacturer’s directions. Visible light is measured in lux or foot-candles. One footcandle (fc) is equivalent to approximately 11 lux.
Ultraviolet is measured in microwatts per lumen (μW/lm), which describes the fraction of ultraviolet radiation in visible light. Because it is a ratio, the total UV will increase as the light levels increase, even as the ratio remains constant. The exposure of an artifact to light is a product of illumination level and time: Light level (lux) x Time (hours) = Exposure (lux hours)
Lighting Design Considerations
To have a successful lighting design, lighting designers have particular considerations that affect lighting on
light and maintenance are all factors that contribute to the whole. An understanding of these factors allows the lighting designer to fuse lighting elements with an architectural designed space to create an effective and functional design for humans to interests and experience the space. Pollution in the Museum Gaseous pollutants, including organic acids, sulphur dioxide, nitrogen oxides and ozone, can cause bleaching, discoloration and weakening of a variety of materials.
Particulate pollution (dust) can become embedded in the object’s surface, cause abrasion and wear, attract moisture, act as a food source for pests and be visually disfiguring. Liquids such as sweat can also cause problems such as dirt, corrosion and chemical weakening of materials.
It has long been recognized that exposure to atmospheric pollutants constitute a risk to museum collections. Outdoor pollutants produced by fossil fuels can damage paintings, textiles, and other works of art. Indoor pollutants generated by building materials can harm metal objects as well as other items.
Researches focused on outdoor pollutants including nitrogen oxides, ozone and other photochemical oxidants, sulphur dioxide, and particles and expanded to include indoor- generated pollutants specifically, formaldehyde, acetaldehyde, and formic and acetic acids. At the same time, the emphasis of research shifted from the macro-environment (Gallery and storage spaces) to the micro-environment (display cases and storage cabinets), where most of the damage from these indoor pollutants occurs.
Of increasing concern for collections in urban environments is the soiling of exposed surfaces, such as textiles, which cannot be cleaned safely or without difficulty. Internal combustion engines produce very small particles of nearly pure carbon, which cause extensive soiling.
Studies were carried out to determine the damage gaseous pollutants cause to various types of museums objects. Certain photochemical oxidant pollutants proved detrimental to a number of organic colorants. In addition, various materials were exposed to formaldehyde to measure their sensitivity to the pollutant. These studies confirmed that metals, and to a lesser degree shells, were susceptible to formaldehyde. Yet glass and ceramic glaze was not affected after 100 days of exposure. Recognizing the limited resources of many museums, researchers studied passive sampling devices that would allow museums to conduct their own surveys with minimal cost and expertise. Through testing, a number of commercially available, relatively low-cost products were identified that met the criteria for museum environments. This work has enabled many institutions to conduct economical pollutant surveys of their storage and display areas.
Also investigated were mitigation methodologies to reduce significant indoor concentrations of pollutants.
Those methods that proved effective used active filtration, passive protection, and combinations of procedures that worked along with the building’s ventilation system. The solutions are as simple as placing a tray of a sorbent material in a display case to absorb damaging pollutants or as thorough as identifying and isolating the offensive material from the display or storage space.
Pests
When we talk about pests, often thoughts turn to the common species that are known to transfer disease and infection, such as rodents, cockroaches and flies. However, not all pest species are what we might term as “public health” risks, and therefore the presence of some pests does not automatically mean there is an associated risk to people’s health. But, in the right environment, many pests can be incredibly destructive and will decimate their preferred food source.
In a museum or gallery, display or storage environment, the risk to exhibits or works of art from insect pests is a major priority. Clothes Moths and Carpet Beetles are the most common textile pests in the Museums, and an infestation of either or both can decimate a collection. They have the ability to digest the fibrous protein & “Keratin” which forms the main structure of natural materials such as hair or feathers and is present in leather. This ability and appetite put textiles and works made from wool, silk, fur, vellum and leather at risk. Damage caused by textile pests are performed by the larvae, making detection difficult due to their size, especially in the early stages of infestation. Early signs would be new holes in objects (Bringing into focus the importance of ongoing monitoring), and “Frass”. Frass is the excrement of the larvae, which might appear as a dust or powdery substance.
Pests in Museum Buildings Most modern buildings successfully prevent the entry of pests by careful design and detailing of potential entry points such as doors, windows and vents. Building standards and the improvements to heating and ventilation systems have also played a part in creating environments that are generally less attractive to insect pests. If you are planning a new building then it is worth discussing the special needs of your collection with the architect and including this in the initial design brief. In most cases it’s impossible to have a completely pest-free environment, Unfortunately, even with the most comprehensive controls, you still may fall foul of pests. It is not usually practical to totally exclude all pests from a building, so it is important that they are denied a suitable environment in which to feed and breed when they do get in.
Many insect pests can fly and may enter properties through open doors and windows. With moths and beetles, it is the larvae that cause all the damage. The longer you have adult insects in your property, the more eggs they lay and the more activity there will be to control.
So, act quickly if you see any insects, and inform your pest controller. The key to avoiding pest infestations is to understand the conditions under which they thrive. By denying them the four things they need-food, warmth, humidity and harbourages. It is possible to prevent them from becoming established if these four key factors are disrupted. The four factors are often inter-linked and achieving the right balance is not always straightforward, but it is also important you develop the right procedures.
Treatments
The choice of treatment method will depend upon the severity of the infestation, the type of material and the value of the object. The treatment of objects should only be carried out after taking the advice of a conservation or collections care specialist. In many situations, the application of an appropriate residual insecticide such as permethrin micro-emulsion will be sufficient to tackle an isolated outbreak of insect infestation. If your museum collection is made up of fragile and precious items, the pest control industry can offer you a number of innovative solutions to solve your textile pest issues.
Some standard insecticide formulations may not be suitable for treating specialist items. However, heat, cold, carbon dioxide and even hormone confusion can all be used as controlling agents for textile pests, so ensure your contractor is considering such processes to preserve the integrity of your collections. These developments in the pest control industry mean that museums now have a number of options for treatments that will prevent or eradicate pests, if carried out correctly. (Concluded).
Life in Delhi was hard. Money was short and Ashish had to critically curb his spending even for the smallest of spends. Ashish rented a studio apartment where he could work unfettered. However, it wasn’t easy. His work could be noisy at times. The sound of carving wood, the sound of grinding bronze and other such noises bothered the other residents. Ashish had to improvise. He bought a couple of thick mattresses and made a soft workbench out of them to minimize the sounds. While this helped cut a few decibels, noise remained a challenge. Ashish has had to change his apartment quite often. However, he remained unfazed and continued his work.
Speaking about the exhibition, Shailja Jain, artist and founder of Shailja Art Gallery says, “With Canvas Confluence, we wanted to showcase the artworks of an untapped pool of artists who don’t often get a chance to display their works in big cities, alongside local artists. You’ll see the abstract artworks from artists of Ujjain alongside realistic paintings of Mumbai-based artists. We’ve even got artists from smaller towns like Narhe (Maharashtra), Ratlam (Madhya Pradesh), Birbhum (West Bengal), and Khordha (Odisha) that are forgotten in the public eye.”
Kumar’s art catered to a more nuanced aesthetic of the contemporary art practices, where the traditional God figures played a vital role in exploring the modern-day narrative on spirituality and spiritualism. He also merges his style with the Fresco style which deliberates effects and details to his work and brings out a very cheerful and bright engagement with his icons. Again, his recent collection of cityscapes draws an interesting engagement with structure and space, where he creates a close visual impact of buildings staged in a row, haphazardly performing the role of a giant with several eyes. These oil or acrylic art works on canvases are a special response to India’s Modernist artist F. N. Souza. These paintings also respond to the idea of a large landscape, where land has become an overgrown complex of brick and cement homes overlooking a probable gaping valley from where the image may have been conceived. Kumar’s composition toys with the richness of shadows and lights. He brings out the shadows as a means to explore the possibility of an alien world buried in the making of a city space. The city is not merely a sight. It is a busy space, constantly exploding into its own vacuous structures. These homes are lit from inside and hovering over each other’s structure. They might even come across as possible reflections on how the city devoids space to structure even though these structures occupy space.
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