The Indian artist Sudhir Patwardhan is chiefly a painter in the realist tradition moving between images of the city, inhabitants, and milieu. Along with bodies and buildings, his traverse charts the shape of urban change through acts of witness positioned at windows, on terraces, on the train platform, and within the bustle of the city street. Although various aesthetic inflections in his work acknowledge a debt to canonical peaks in the history of western art, they find traction in generative tensions with the conceptually-driven practices of Indian artists such as Akbar Padamsee, Gieve Patel, and Nalini Malani. Here, in conversation with Prajna Desai, Patwardhan articulates how he came to art as a self-trained practitioner, alighting on Marxist histories and personal narratives that have shaped his practice of pigment on a two-dimensional substrate. Sudhir Patwardhan lives and works in Thane, a city near Mumbai.
Okamoto Tarō recollects his experiences in Paris between 1929 and 1940, discusses the Abstraction-Création movement and reflects on his time at the Sorbonne and Musée de l’Homme.
This source is an English translation by Stephanie M. Hohlios of a compelling 1971 memoir-essay by Japanese artist Okamoto Tarō—“Watashi to jinruigaku: pari daigaku minzoku gakka no koro (Anthropology and I: My Time at the University of Paris Department of Ethnology)”. Okamoto’s essay “Anthropology and I” sheds light on a widely recognized but little understood…
Song Dong’s 1996 Breathing—a work that zeroes in on the act of breathing in two charged public spaces in Beijing—speaks to art as intertwined with the practice of living, resistance as well as futility.