Postgraduate Diploma Course offered by Dr. Bhau Daji Lad Museum
Title: Modern and Contemporary Indian Art and Curatorial Studies (1850 to the present)
Time: 1 academic year
Commencement: Mid-January 2014
Completion: Mid-December 2014
Fees: Rs. 60,000/-
SPECIAL AUDIT OFFER
We are happy to offer 3 additional options to audit the Course as Observer-Status.
1) A bouquet of 5 lectures minimum through the year can be taken for Rs. 18,000/-
2) A bouquet of 10 lectures minimum through the year can be taken for Rs. 30,000/-
3) A bouquet of 20 lectures minimum through the year can be taken for Rs. 45,000/-
Please Note: Availing these options will not include a certificate at the end of the Course. You will be entitled to a certificate only if the course has been completed in its entirety along with attendance/term papers/assignments/scrapbook, etc. The Curatorial Studies module is only available to full time students.
Mrs. Tasneem Zakaria Mehta – Honorary Director and Managing Trustee,
Dr. Bhau Daji Lad Museum
Honorary Academic Council
Dr. Partha Mitter - Emeritus Professor of Art History, University of Sussex
Dr. Parul Dave – Dean, School of Art & Aesthetics, JNU, Delhi
Dr. Kavita Singh – Senior Faculty, School of Art & Aesthetics,
Abhay Sardesai – Editor, Art India Magazine, Mumbai
Girish Shahane – Art Critic, Curator and Writer, Mumbai
Arshiya Lokhandwala – Art Historian, Curator and Gallerist, Mumbai
Why a Course of Modern & Contemporary Indian Art?
In India, academic courses in Art History and Modern and Visual Art/Culture are
offered in New Delhi, Kolkata, Bengaluru and Vadodara. Unfortunately, there is no equivalent
course offered in Mumbai covering similar content. Mumbai is one of the most important
cities for the production of Contemporary Art. It is the city that gave birth to
the Indian Modern Art movement.
In response to this lacuna and with a view to developing the pedagogy in this area, for the third consecutive year, the Dr. Bhau Daji Lad Museum is seeking to offer a 1 year PG Diploma course in ‘Modern
& Contemporary Indian Art and Curatorial Studies’. The course, now in its second successful year, will cover theoretical
and critical study of the history of Indian Art from 1850 to the present. It aims
to allow the students to understand Indian art in the broader context of history,
sociology, politics, gender and cultural studies. It also aims to allow new readings
of Indian Art within the context of international modern and contemporary art history.
We are proud to introduce a new Curatorial Studies segment to the program. The new format aims to help participants engage with concepts associated with new curatorial practice as well as provide students with hands-on exhibition and conservation experience using the Museum as a resource.
Multiple perspectives and readings will be encouraged through a range of research
methods that combine a multitude of approaches. The diploma program will be taught
by acclaimed Indian and International Academic Faculty. The course aims to offer
lectures and seminars by visiting scholars and artists from across the world, visits
to exhibitions in Mumbai’s premier art galleries, field trips to museums and
artist studios as relevant to the course material. The course will give students
an excellent grounding in the development of the modern aesthetic sensibility in
Indian and related artistic practices.
The course will enable students to seek avenues of employment in various art and
cultural institutions and benefit the cultural industry with trained specialists
as Curators, Exhibition Managers, Museum Curators, Art Historians, Art Conservators,
Art Critics, Art Writers, Art Educators and Arts Managers. It aims to create an
effective knowledge base for the participants and establish linkages with the market
and institutions to enable successful placements. Several business houses and fund
managers are increasingly engaging with contemporary art as a form of investment.
This course will provide an opportunity for informed decisions towards collecting
and investing in Art for those already engaged in this area.
Application Forms can be downloaded from our website and will be available at the Museum office at the address below:
DR. BHAU DAJI LAD MUMBAI CITY MUSEUM
Veer Mata Jijabai Bhosale Udyan (Rani Baug)
91/A, Dr Babasaheb Ambedkar Road
Byculla East, Mumbai 400027
Office Hours: 10.30am - 5.30pm (Closed on Wednesdays)
REGISTRATION DEADLINE EXTENDED: Tuesday, 10 December, 2013
Registration: Completed forms along with the required documents can be emailed to email@example.com or submitted to the Museum office on or before 10 December, 2013.
Only shortlisted candidates will be called for an interview. The decision of the Academic Council will be considered final. On selection the candidate will deposit Rs. 10,000/- within a week. The balance fees will have to be paid by 1 January 2014.
All payment of fees are to be made either by A/C payee cheques or Demand Drafts only favouring ‘Dr. Bhau Daji Lad Museum Trust’.
In case of any queries please write to Ms. Nishita Zachariah at firstname.lastname@example.org or email@example.com
Application Procedures: The application form should be submitted with attested copies
of the following:
i) Certificates & transcripts of all relevant academic qualifications.
ii) Proof of Indian Residence – Xerox with signature of either one- Passport
/ Pan card / Domestic Utility Bill / Ration Card / Voter ID / Bank Statement
iii) 1 passport size photograph
Please carry originals of all submitted documents for the interview.
A candidate for being eligible for the admission to the PG Diploma Course in MCIAH
shall have passed Archaeology, Art History, Anthropology, Ancient Indian Culture,
Literature, Sociology, Political Science, History, Philosophy, Liberal Arts, Psychology
securing a BA Degree with a minimum of second Class. Students with a degree in Commerce,
Business, Polytechnic , Science and subjects other than those mentioned here will
have to demonstrate special knowledge/work experience in the Arts/ Art History to
be considered eligible. Students of Design Studies are also eligible for admissions.
This is a part-time long weekend course and working students & adults are eligible
for the same. The duration of the course will be 2 semesters spread over 1 academic
year. Extra sessions on weekday evenings may be scheduled as necessary. Additional
time for lectures/sessions/ special modules should be considered when applying for
Teaching Days / Hours
Lectures will be conducted on Friday from 6 to 8 pm, Saturday and Sunday morning from 10.30 am to 1 pm. Additionally on Saturday afternoons a gallery / studio visit is organised as part of the segment, followed by a public lecture on Saturday evening.
If the faculty would like to extend the sessions for some segments to include mornings
/ afternoons / early evenings, the Museum will accommodate the same. Students will
be informed in advance by the Course Coordinator. If additional sessions on weekdays
are required for some modules, evening hours from 4-7 pm on Thursdays will be considered.
This is subject to availability of the classroom and other educational / recreational
programming activities of the Museum.
International faculty will be encouraged to plan 4 day sessions for the modules
taught by them. In order to accommodate their visit and avail of the maximum teaching
opportunity they offer, these modules may be non-negotiable in terms of the schedule
and timings. The Museum will try and facilitate students’ desired timings
as and where possible.
In addition to a national and internationally renowned faculty, visiting scholars
at partner institutions like the School of Art and Aesthetics, JNU, Delhi will be
invited as a resource for relevant modules and lectures. Critics, Artists, Curators
will also be invited to contribute to the related modules.
1) Nancy Adajania – Independent Curator and Cultural Theorist, Mumbai
2) Naman Ahuja – Associate Professor, School of Arts and Aesthetics, JNU, New Delhi
3) Rahaab Allana – Curator, Alkazi Foundation for the Arts, New Delhi
4) Dr. Shridhar Andhare – Historian and Former Curator of Paintings at Chhatrapati Shivaji Vastu Sangralaya, Mumbai
5) Dr. Rupert Richard Arrowsmith – Research Associate, UCL, UK
6) Rasna Bhushan – Independent Art Historian and Independent Curator, Hyderabad
7) Mortimer Chatterjee – Independent Art Curator & Gallerist, Mumbai
8) Rupika Chawla – Senior Conservator & Author, New Delhi
9) Dr. Saryu Doshi – Art Historian and Research scholar
10) Annapurna Garimella – Designer and Art Historian, Managing Director at Jackfruit Research & Design Pvt. Ltd, Bengaluru
11) Ranjit Hoskote – Cultural Theorist, Poet & Independent Curator, Mumbai
12) Dr. Jyotindra Jain – Director, IGNCA & Retired Professor, School of Art and Aesthetics, JNU, New Delhi
13) Suresh Jayaram – Visual Artist, Writer and Curator. Founder Director of Visual Art Collective 1shanthiroad, Bengaluru
14) Prof. (Dr.) Deepak Kannal – Professor & Former Dean, Art History Department, Maharaja Sayajirao University, Vadodara
15) Dr. Raman Siva Kumar – Senior Professor, Viswabharati University, Shantiniketan, Kolkatta
16) Arshiya Lokhandwala- Art Historian, Curator and Gallerist, Mumbai
17) Dr. Sanjoy Kumar Mallik - Senior Faculty, Vishwabharati University, Shantiniketan, Kolkata
18) Dilnavaz Mehta – Independent Researcher and Art Historian, Mumbai
19) Mrs. Tasneem Mehta – Honorary Director, Dr. Bhau Daji Lad City Museum, Mumbai
20) Dr. Partha Mitter - Emeritus Professor of Art History, University of Sussex
21) Dr. Parul Dave Mukherji - Dean, School of Art & Aesthetics, JNU, New Delhi
22) Dr. Ratan Parimoo - Art Historian and Critic, Director of L.D. Museum and N.C. Mehta Collection, Ahmedabad
23) Johan Pijnappel - Independent Art Historian and Curator, Mumbai
24) Ashish Rajadhyaksha - Film and Cultural Theorist, Mumbai
25) Santhosh Sadanandan - Assistant Professor at the School of Culture and Creative Expressions, Ambedkar University, New Delhi
26) Abhay Sardesai - Editor, Art India Magazine, Mumbai
27) Shukla Sawant – Associate Faculty, School of Art and Aesthetics, JNU, New Delhi
28) Girish Shahane - Art Critic, Curator and Writer, Mumbai
29) Vidya Shivdas – Independent Curator & Researcher, New Delhi
30) Dr. Kavita Singh – Associate Professor, School of Art & Aesthetics, JNU, New Delhi
31) Gayatri Sinha – Independent Critic & Curator, New Delhi
32) Pooja Sood – Independent Researcher and Director of KHOJ, New Delhi
Nancy Adajania is an independent curator and cultural theorist based in Mumbai. She was educated in political science, social communications media, and film. She has written and lectured extensively on contemporary Indian art, especially new media art and its political and cultural contexts, at venues such as Documenta 11, Kassel; the Danish Contemporary Art Foundation, Copenhagen; among others. As Editor-in-Chief of Art India (2000-2002), Nancy developed a discursive space for emergent new-media and interactive public art practices and social projects on a global level. Nancy’s essays have appeared in numerous books and anthologies, including The Sand of the Coliseum, The Glare of Television, and the Hope of Emancipation in Documenta Magazine (2007) and The Logic of Birds: Points of Departure for Indian Women Artists in Tiger by the Tail: Women Artists of India, Transforming Culture (2007), among others. Adajania is the editor of Shilpa Gupta (2010). Nancy co-curated Zoom! Art in Contemporary India (2004) and has curated Avatars of the Object: Sculptural Projections (2006) and The Landscapes of Where (2009).
Naman Ahuja is Associate Professor of Art and Architecture of Ancient India at JNU, New Delhi. He completed his PhD at the School of Oriental and African Studies (SOAS), London University. Until 2004, he was a Fellow at the Ashmolean Museum, Oxford, where he authored a catalogue of the Museum’s collection of Ancient Indian antiquities. He is a regular contributor to various International scholarly journals and the recipient of several international grants and awards and has lectured widely across the world. Some of his publications include Divine Presence, the Arts of India and the Himalayas (2003), Ramkinkar: Through the Eyes of Devi Prasad (2007), and The Making of the Modern Indian Artist – Craftsman: Devi Prasad (2012). His current research interests are in talismanic and apotropaic images from early India, the formation and uses of popular iconography in Ancient India and in Sultanate period painting.
Rahaab Allana is Curator of the Alkazi Foundation for the Arts, New Delhi, where he has curated and co-curated exhibitions with essays over the last 4 years. He is also a Fellow of the Royal Asiatic Society in London. He had an early engagement with art as an assistant at the National Gallery of Modern Art, New Delhi in 2001, working on one of India’s first exhibitions of Picasso, entitled Metamorphoses. Allana is a graduate in Art History/Archaeology (M.A.) from School of Oriental and African Studies, London, and he is the author of Inherited Spaces, Inhabited Places (2005), a volume on World Heritage Sites. He is the Guest Editor of Marg Volume 61: Aperture and Identity—Early Photography in India(2009), and currently guest editing the India Photography Reader, Vol. 1, entitled Movements. Allana recently traveled on a grant to France, to all the primary photo-museums to pursue inter-cultural activities for the Alkazi Foundation in the future.
Dr. Shridhar Andhare is a former curator of paintings at Chhatrapati Shivaji Vastu Sangralaya (Prince of Wales Museum), Mumbai; former director of Lalbhai Dalpatbhai Museum, Ahmedabad; and honorary director of NC Mehta Gallery, Ahmedabad. He specializes in the history of Indian miniature painting, museum installation, and restoration of paintings. He is the author of The Chronology of Mewar Paintings (1987), Deogarh Painting (1977), Bundi Painting (1971), Styles, Substyles and Thikanas (Marg Special Issue in Press) (2013/2014) and A Catalogue of Miniature Paintings of Sanjay Sharma Museum, Jaipur (also in press). In addition to this, a number of articles on Jain Art have been published in Indian and international books.
Dr. Rupert Richard Arrowsmith is an alumnus of Christ Church college, Oxford University, and is currently based at University College London. He is the author of Modernism and the Museum - Asian, African, and Pacific Art and the London Avant Garde (2011), and is in the process of editing The Face of the Buddha by the English poet and philosopher William Empson for its first publication. He is also writing a book on early Modernist literature and art in cities across Asia, and contributes regularly to The Times Literary Supplement, The Burlington Magazine, and Modernism/Modernity.
Rasna Bhushan is one of India's most accomplished art historians and independent curators of contemporary art. From her base in Hyderabad, India, she has curated a number of landmark exhibitions, including Telling Tales of Self, Nation, Art: Five Contemporary Artists from India (1997-8) where five Asian women artists look at post-colonial identity.
Mortimer Chatterjee received his Masters in the History of Indian Art and Architecture from the School of Oriental and African Studies, London. Having worked in London with an important collection of Indian photography as well as Christies auction house, Chatterjee moved to India to pursue his interest in Indian modern and contemporary art. He is a partner in Chatterjee & Lal which is today considered a leading gallery for the promoting of both younger artists and historical material. Over the last decade he has been responsible for maintaining major art collections including the Taj Group. His recent projects have included a co-authored publication on the art collection of the Tata Institute of Fundamental Research along with an exhibition of that collection at the National Gallery of Modern Art, Mumbai.
Dr. Saryu Doshi is an Art Historian, Research Scholar, Editor and Curator. Dr. Doshi began her prolific career as a distinguished contributor to art and culture as a visiting professor at the University of Michigan, USA in the late 1970’s. She also taught art history and culture at the University of Pune and University of California, USA. She was appointed as an honorary director of National Gallery of Modern Art at its inception in Mumbai, during which Dr. Doshi curated 13 successful exhibitions establishing a legacy of highly revered stature that NGMA has acquired. She has delivered several lectures and seminars for esteemed academic institutions, museums and cultural organizations nationally and internationally, to be specific in USA, Europe, China, South Africa, Botswana, Egypt, Mauritius and Oman. She has authored and co-authored several books and published many academic articles promoting Indian art and culture. While her research focuses in this field she is deeply involved in theatre, dance, cinema and photography. Dr. Doshi’s contribution to arts and culture is highly invaluable for which she was conferred with the ‘Padma Shree’ award in 1998.
Dr. Annapurna Garimella is a Bengaluru-based designer and art historian, with an interest in the art and architecture of India. She is the Managing Director at Jackfruit Research & Design Pvt. Ltd., a research and design organization. She is also the managing trustee of Art, Resources and Teaching (ART) Trust, a not-for-profit organization that gathers resources and promotes research and teaching in art and architectural history, archaeology, crafts, design, and other related disciplines. She is currently on the board of the S N School of Art and Communication, University of Hyderabad.
Ranjit Hoskote is a contemporary Indian poet, art critic, cultural theorist and independent curator. Hoskote was an art critic and cultural commentator, as well as a senior editor, with The Hindu, from 2000 to 2007 and was principal art critic for The Times of India, Bombay, from 1988 to 1999.Hoskote has authored a critical biography as well as a major retrospective study of the painter Jehangir Sabavala, and also monographs on the artists Tyeb Mehta, Sudhir Patwardhan, Baiju Parthan, Bharti Kher and Iranna GR. He has written major essays on other leading Indian artists and monographic essays on the Berlin-based artists Dolores Zinny and Juan Maidagan. Hoskote has independently conceived and organised twenty exhibitions of contemporary Indian as well as international art since 1994. He was co-curator of the 7th Gwangju Biennale (2008) in South Korea, collaborating on this project with Okwui Enwezor and Hyunjin Kim. In collaboration with Nancy Adajania, Hoskote is in the process of developing a new journal of critical inquiry in the visual arts particularly focusing on transcultural artistic practice and its various undercurrents bringing forth the radical transformations that have taken place in the current global art world and its relationship with regional art histories.
Dr. Jyotindra Jain was born in 1943 in Indore, India, studied Cultural Anthropology, Indian Studies and Ancient Indian History in Mumbai and Vienna, where he completed his doctoral dissertation in 1972. Dr. Jain was Director of the Crafts Museum, New Delhi, Professor at the School of Arts and Aesthetics at Jawaharlal Nehru University, New Delhi, and is now at Indira Gandhi National Centre for the Arts (IGNCA), New Delhi. Dr. Jain has been an Alexander-von-Humboldt Fellow, a Homi Bhabha Fellow and a Visiting Professor at the Center for the Study for World Religions, Harvard University, USA. His teaching and research encompass the entire breadth of folk and tribal art, Indian popular visual culture, ritual dynamics and cultural institutions of the 19th and 20th centuries.
Suresh Jayram is a visual artist, art writer and curator from Bengaluru currently involved in conceptual art practice, urban mapping, archiving, curation and arts education. He is the Founder Director of Visual Art Collective Trust and curator of an international art residency program. He taught Art History at College of Fine arts, Karnataka Chitrakala Parishath from 1992 to 2007 and was Dean between 2005 - 2007. During his tenure he set up the department of Art history, library and initiated the visual art archives. He has been a design consultant to Asian Women Human Rights Council (AWHRC), and is involved with Bengaluru Film Society, and also is part of an alternative collective Center for Informal Education and Development Studies (CIEDS). As a curator he has organized contemporary art exhibitions, and is currently the curator for Colombo Biennale 2012 in Sri Lanka. He has also coordinated the South Asian residency for KHOJ between 2007 to 2010.
Dr. Deepak Kannal is a practicing sculptor and an Art Historian. He has a number of National level awards, scholarships, distinctions including the Charles Wallace fellowship (for his post doctoral project at Cambridge UK) and a long list of Publications to his credit. He has delivered series of lectures for prestigious institutes in India, US and UK and was invited on chairs instituted by various Universities. He taught in the Dept. of Art History and Aesthetics and also was the Head of the Department and the Dean of the Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara.
R. Siva Kumar is an art historian and curator. He is Professor of Art History at Kala Bhavana, Visva Bharati, Santiniketan. He has written extensively on modern Indian Art and is the author of more than ten books. He has edited Rabindra Chitravali, a four-volume compilation of Rabindranath’s paintings and is the curator of the exhibition of his paintings that is travelling to eight major museums of the world to mark the 150th birth anniversary of Rabindranath Tagore.
Arshiya Lokhandwala was the founder and curator of Lakeeren Art Gallery, Mumbai, from 1995 to 2002. In 2001, she was awarded the Charles Wallace India Trust Award, towards an M.A. in Creative Curating, at Goldsmiths College, London. She was also selected as one of the participants at the Documenta 11 Education programme in Kassel, Germany, in 2002. She curated Rites/ Rights/Rewrites: Women’s Video Art, which travelled to Cornell, Duke, and Rutgers Universities from 2003 to 2006. In 2006, she curated a performance by Monali Meher, Between the Familiar/Unfamiliar, The Home and Heart, Beats a Golden Kiss, at the Tate Modern, London. Lokhandwala is currently an independent curator and art historian and is pursuing her PhD at Cornell University, USA.
Dr. Sanjoy Kumar Mallik is currently Associate Professor, Department of History of Art, Kala Bhavana, Visva Bharati, Santiniketan. He followed up a graduation in Painting from Visva Bharati with post-graduate and doctoral studies in Art History from the MS University, Vadodara. While his Master’s-level dissertation analyzed the pictorial language of the 18th century Malwa miniatures, his Doctoral thesis addressed the shifts in early modern practices in the 1940s in Bengal. His recent project has been the retrospective exhibition of the artist Chittaprosad, at the DAG, New Delhi, which saw the publication of a comprehensive, thoroughly researched and well-documented five-volume publication that was part of the event.
Dilnavaz Mehta has a M.Sc degree in Microbiology and a diploma in Indian Aesthetics. She studied the languages of Avesta and Pahlavi and has been spearheading a trust fund for the appreciation and dissemination of Zoroastrian history, religion and culture within the community for the last twelve years. She has been a trustee and is presently the Jt. Secretary of the J. N. Petit Reading Room and Library. She has extensively researched and studied antiquarian books, maps, prints, paintings, drawings published in and on India from the sixteenth century till the early twentieth century. She has given presentations and lectures as well as authored articles for magazines, travel journals and art publications and is a visiting lecturer for post graduate studies in Indian aesthetics.
Tasneem Zakaria Mehta is the Managing Trustee and Honorary Director, Dr. Bhau Daji Lad Museum, Mumbai, and Vice Chairman and Convenor, Mumbai, INTACH. She is an art historian, writer, curator and designer. She has studied Fine Arts and Design at the Sir J. J. School of Art, Mumbai, a Liberal Arts degree at Columbia University, New York, a PG degree in the History of Modern Art from Christies London, a Masters in English from Delhi University and worked on research towards a PhD on the establishment of museums and schools of art in the 19th century, at the JNU, New Delhi. She is a member of the Advisory Board of NGMA, member of the Governing Council, Salar Jung Museum, Hyderabad and chairs jury for Skoda Prize for Contemporary Art. Harvard University selected her as a woman achiever for their Star Women Project, 2009.
Dr. Partha Mitter is Research Professor of History of Art at the University of Sussex, Brighton. He is the author of Much Maligned Monsters: A History of European Reactions to Indian Art (Clarendon Press, 1977); Art and Nationalism in Colonial India 1850-1922: Occidental Orientations (Cambridge University Press, 1994) and Indian Art (Oxford University Press, 2002). At the Clark Institute, Williamstown, Mitter will complete his monograph Modernity, Art, and Nationalism in India 1922-1947, a project culminating five years of research to address global modernism, colonial ideology, art historical canons, and the construction of identity by non-western nations with particular reference to India.
Dr. Parul Dave Mukherji, D.Phil (Oxford), is the current dean and professor of the School of Arts and Aesthetics. Earlier, she taught at the Department of Art History and Aesthetics, Faculty of Fine Arts, MS University, Vadodara. From 2002, she became the co-convener of the Forum on Contemporary Theory and co-editor of the Journal of Contemporary Thought. She has lectured in India, Europe and Japan (and has been elected as the Delegate at Large representing India on the Executive Council of the International Association of Aesthetics). Her recent publications include Towards A New Art History: Studies in Indian Art (co-edited), New Delhi, 2003 and guest edited special issue on Visual Culture of the Journal of Contemporary Thought, 17 (Summer 2003); Rethinking Modernity, (co-edited) New Delhi, 2005. Her current research focuses on Indian art historiography, the politics of visual representation and the question of caste and gender in the study of early treatises of Indian art and aesthetics. It also involves working out a theoretical framework for comparative aesthetics to set up a conversation across disciplinary boundaries of critical theory and traditional theories of visual representation.
Prof. Ratan Parimoo is a noted art teacher, painter, historian and critic who has specialised in traditional and contemporary arts of India. He was Head of the Department of Art History and Aesthetics from 1966 to 1991 at the Maharaja Sayajirao University, Vadodara, and was instrumental in setting up the Department’s Archive. As a Commonwealth scholar, Prof. Parimoo studied History of European Art at the Courtauld Institute of Art, University of London (1960-63). He received the Rockfeller Grant to study in the USA in 1974. He was invited to participate in the twenty-third World Congress of the International Society of Education through Art held in Australia in 1968. He is the editor of the encyclopaedic critical anthology, Creative Arts in Modern India. In 2010 he edited Historical Development of Contemporary Indian Art 1880-1947. His publications include Paintings of the Three Tagores: Abanindranath, Gaganendranath and Rabindranath; Studies in Modern Indian Art; Sculptures of Sheshasayi Vishnu; and Essays on New Art History: Studies in Indian Sculpture. He is currently the Director of the L.D. Museum, and N. C. Mehta Gallery, Ahmedabad.
Johan Pijnappel is a Dutch art historian and curator who has specialised in video and new media art in Asia. He has studied Art History, Philosophy, Museology and Classical Archaeology at the Leiden University. In the early eighties he began research on digital arts for which he became more known internationally through his publications for Academy Editions London such as World Wide Video (1993) and Art & Technology (1994). In the second half of the nineties he was co-curator of the World Wide Video Festival in Amsterdam. In 1997, Johan turned his focus to Asia, curating a number of exhibitions solely on Indian and Chinese video art in Amsterdam, Mumbai, New Delhi, Seoul, Brisbane and Beijing. His curatorial projects include Indian Video Art: History in Motion (2004), CC: Crossing Currents-Video Art and Cultural Identity (2004), The Third Seoul International Media Art Biennale (2004/5) and the video art programme of the New Narratives: Contemporary Art from India (2008). From 2004 till 2013 Johan has been member of the curatorial project MOVE ON ASIA, at Gallery Loop in Seoul, whose annual exhibitions have been shown widely outside South Korea to places such as Tate Modern/London (2012), ZKM/Karlsruhe (2013).
Ashish Rajadhyaksha is a film and cultural theorist. He is a Senior Fellow at the Centre for the Study of Culture & Society, Bangalore. He is the co-author of the Encyclopedia of Indian Cinema and author of Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency. He co-curated (with Geeta Kapur) the show Bombay/Mumbai 1992-2001, part of the Tate Modern’s Century City: Art and Culture in the Modern Metropolis in 2001. Ashish was the curator for the West heavens Film event in Beijing, You Don’t Belong: Pasts and Futures of the Indian Cinema in November-December 2011. He has published widely on cinema and contemporary art, and presented papers on these topics in conferences across the world. He was a Jury member for National Film Awards (Feature Films), New Delhi, 1995; and a Selection Committee Member for First Festival of Short and Documentary Films, Bombay, 1990.
Santhosh Sadanandan is an Assistant Professor at the School of Culture and Creative Expressions, Ambedkar University, New Delhi. He has previously taught at the School of Arts and Aesthetics at JNU, as well as at the Department of Art History and Aesthetics, Faculty of Fine Arts, M.S.U, Vadodara from where he completed his post-graduation in Art Criticism. He is a regular contributor of research articles to various publications, as also catalogue essays on artists like K.P. Reji, Savi Sawarkar, T.V. Santhosh, and Zakkir Hussain, among others. He works extensively in the field of critical historiography of Indian art historical studies and cultural practices in relation to minoritarian politics. He has co-coordinated national seminars on Cultural Practice and Discourses of the ‘Minor’ (2007) and The World, the Text and the Critic: Re-Membering Edward W. Said (2003) at M.S.U, Vadodara. He is also one of the Project Directors of The Curatorship Programme (2010-2013), a series of five traveling workshops and a colloquium on curation, which is an initiative of India Foundation for the Arts, Bangalore, India.
Abhay Sardesai has been the Editor of ART India, the premier art magazine of India, since November 2002. Under his editorship, the magazine has developed a Culture Studies-oriented approach and has become more inter-disciplinary in its theme-based explorations. He has been a Visiting Faculty in Aesthetics at the Department of English, University of Mumbai, and has also been the Chair of Humanities, Kamla Raheja Vidyanidhi Institute of Architecture, Mumbai. He teaches at the Smt. P. N. Doshi Women’s College of Arts and also at various other institutions like Jnanapravaha and TISS. He has written widely on Art and Literature and read from his work at various places including the University of Princeton, University of Cambridge, Mumbai University, S.N.D.T. University, Sarai and NGMA.
Shukla Sawant is a visual artist and currently an Associate Professor of Visual Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Sawant works with photography, installation, and printmaking and her theoretical interests extend to writing on contemporary art. She has lectured extensively in various institutions and has been actively associated with artists’ initiatives.
Girish Shahane is an independent writer based in Mumbai. Shahane received a Rhodes scholarship to Oxford University, where he completed his M.Phil in Modern English Literature. He was an editor of the Art News Magazine of India between 1998 and 2000. He has lectured and presented papers at venues like the NCPA and NGMA in Mumbai; the Max Mueller Bhavan, Bengaluru; the Tate Modern, London; and the Art Institute, Chicago, and many others. His articles on art, film and cultural politics have been published in leading newspapers and journals in India and abroad.
Vidya Shivadas is a curator based in New Delhi. After her Bachelors in Sociology from Delhi University and a Masters in Art Criticism from Faculty of Fine Arts, M S University, Vadodara, she joined Vadehra Art Gallery in 2002, where she has curated several exhibitions. She also worked as a researcher on the Getty-funded study Museology and the Colony being conducted by Jawaharlal Nehru University, New Delhi and University of California, Los Angeles under the guidance of Dr Kavita Singh and Dr Saloni Mathur. In 2007, she was invited by Goethe-Institut and the Education Department of Documenta 12 to participate in the educational programme of Documenta 12 in Kassel, Germany. Shivadas is currently working with Foundation of Indian Contemporary Art (FICA) where her role is to create links between academia and the art market and promote the exchange of knowledge about Indian art through workshops and the establishment of an archive.
Dr. Kavita Singh is an art historian. Her research interests include the history and politics of museum collections, the social history of Indian painting, and the application of narrative theory to art. Her publications include New Insights into Sikh Art (Marg, 2002) and essays in several international and national journals and edited volumes. She has been Research Editor, Marg Publications and Guest Curator, San Diego Museum of Art and Museum Intern at the Asia Society in New York. She was co-curator of Power and Desire: Indian Paintings from the Binney Collection, an exhibition of Indian miniature paintings that traveled through the US, Europe and Asia. In 2005 she received a major grant from the Getty Foundation for a collaborative project to study the place of museums in the social landscape of India today.
Gayatri Sinha is a leading independent curator and art critic based in New Delhi. As an art critic and columnist, she has written for the Indian Express (1981-1991), The Telegraph (1991-1994) and The Hindu (1995-2006). Her concerns as a writer revolved around creating a language establishing a theoretical framework for the complex elements that enter Indian praxis-classical and vernacular strains, social polity and critical theory. As an editor, her work has been art historical and critical in drawing together scholars and critics to examine Indian art practices from the 1850’s onwards. Sinha edited Expressions and Evocations: Contemporary Women Artists in India and Indian Art: An Overview, the seminal study of Indian art and its passage through modernism into post-modernism. Exhibitions curated include Cinema Still (2002: India Habitat Centre, New Delhi), and Middle Age Spread (2004: National Museum, New Delhi).
Pooja Sood is the Director of KHOJ International Artists’ Association, an autonomous artist led registered society which is committed to experimentation and exchange in the visual arts. Since 2000, she has researched and facilitated the establishment of the South Asia Network for the Arts (SANA) and is also the Founding Director of the ATSA (ArThinkSouthAsia) programme which is dedicated to capacity building art professionals. Pooja’s contribution has been in the field of curating alternative contemporary art practices as well as exploring different models of collaboration and institution building in contemporary art. As an independent curator, Pooja is currently one of the co-curators for the opening exhibition at the National Museum of Modern and Contemporary Art, Korea. She is the editor of The KHOJ Book: 1997-2007 (2010) and Video Art in India (2003), among others. She is a Chevening Scholar for the Clore Leadership programme, UK (2009-2010).