PRESS RELEASE 2 - Exhibition : Contemporary Paintings of Avinash Godbole

Agony and Ecstasy...

Agony and Ecstasy penned by Irving Stone the American novelist in 1961 encapsulates the life of Michelangelo the famous Renaissance artist perfectly I also choose this as a point of entry to talk about Avinash Godbole’s life and work, for nothing could be far from truth. Avinash Godbole knows the pain of being landlocked when your heart dreams of flight. He had a long and fulfilling career in the world of advertising, where he donned many hats; creative director, illustrator and mentor. Over the years he won many accolades and gained respect as an illustrator whose lines spoke volumes about, sometimes more than the words. Looking back it is difficult to tell whether he would continued in the same mien, but life had something else in store for him. He had a stroke which turned his life around, but Godbole was one who never gave up, supported by his wife he did not pick up from where he left but forged a new path. he chose the metaphor of line and colour to express his life after a stroke in his paintings.

(Kokilaben Hospital. Avinash Godbole had come for his regular checkup:2010)

Godbole picked up his pencil again, this time with his left hand. It was a slow start. It was like learning to paint all over again. He realised that his brain was still intact: it had ideas, creativity, a vision for beauty. It took three years to train his left arm to bring that vision to reality. 

(Untitled : Acrylic on paper 30x20 inches Recent work by Avinash Godbole)

He started painting full time after he retired as an executive creative director. Three years ago, he came up with a series of 25 paintings describing his tryst with the stroke. His doctor encouraged him to use his works to spread awareness and give hope to stroke patients on life after the stroke, then began a series of exhibitions in Mumbai and Delhi. He was also invited to exhibit his paintings at the World Stroke Association's conference in Brazil in 2012. Hope is the message he wishes to convey to stroke patients and their families. In this solo exhibition he is showcasing a body of 30 works, these unlike his earlier works speak of pain and desire to come to terms with what life has dealt him. The subjects are pared down to the very core = what does it all mean? How does one tackle the flesh? The desires, the unsaid wishes.They are of diverse subjects but what binds them together is the presence of emotions; be it the musician singing a soulful song or a head, each convey a passion. The choice of colours is bold and the strokes strong and unwavering, together they create a painting that not only moves the viewer but stuns with its intensity.

(Face of Fear Dry : Pastel on Hand made paper 24x22 inches
Recent work by Avinash Godbole)

Godbole’s work is expressive and he deals with deep philosophical questions that besiege man throughout life especially if faced with a life altering calamity as he did. His work is introspective. Another recurrent subject is that of sexuality and how we human beings deal with or rather shun it, but he faces it head on and puts before us a rather unabashed depiction. In fact in his career as an illustrator he received acclaim for his work done for Debonair magazine through the 80’s. 

(Untitled : Acrylic on Hand made Paper 41x28 inches
Recent work by Avinash Godbole)

Avinash Godbole graduated from the Sir J.J.School of Art, Mumbai, in 1966. He taught in the same institute before working as a creative director in some of the top agencies across the country. All along his forte was and continues to be his illustrations. His works have been part of magazines and newspapers for over 30 years. He was inducted to the Commercial Artists Guild (CAG) Hall of fame in the year 1999. Godbole, though actively involved in advertising, always had painting as his first love. He continued to paint all along, though his hectic schedule didn’t leave him enough time to devote towards creating a large body of works for exhibitions. However, he has been showing his works regularly in galleries in Mumbai since 1997. His works deal with a wide range of subjects, his main concern being ‘life’. One can also see that the artist draws heavily from different Indian genres, like Tantra, the Kamasutra, and various folk traditions.

The artist lives and works in Mumbai.                              

- By Yamini Telekar

(Note : This PRESS RELEASE for all Indian news paper, leading PR Agency  and online social media, please share )

Details : A show of recent paintings by Avinash Godbole on 14to 20 April 2014.

11AM to 7PM (Open on Sunday 11AM to.3PM)

At  Art Gate Gallery 1st floor, Chheda Sadan, J Tata Road,above Satyam collection, next to Eros Cinema, Churchgate, Mumbai 400020.

A show of recent paintings by Avinash Godbole at Art Gate Gallery

A show of recent paintings by Avinash Godbole on 14to 20 April 2014.

11AM to 7PM (Open on Sunday 11AM to.3PM)

At  

Art Gate Gallery 

1st floor, Chheda Sadan, J Tata Road,above Satyam collection, next to Eros Cinema, Churchgate, Mumbai 400020.

The Legacy of the Master- Vilas Tonape

There is an anonymous quote that reads, “Art is the highest form of hope”; it propels us into a deeper understanding of creation, beauty and nature. Art gives so much to the human spirit, whether you’re standing before the greatest masterpieces in the world or your own canvas. Being an artist means more than simply expressing oneself; it is a story being told—a story of courage and truth, a story of hope. 

(Vilas Tonape in his studio)

Vilas Tonape is a man of extraordinary depth and expression. His roots go back to India where he first picked up the weapon of mass creation that would ignite a fire—a paintbrush. He has excelled in all he does, receiving his BFA in drawing and painting with distinction, from the Sir J.J. School of Art, University of Bombay and his MFA in painting from Texas Christian University in Fort Worth, Texas, USA. His work has been exhibited internationally in Bombay, New York, Chicago, Los Angeles, and Ontario; he works in both figurative and non-representational modes.

"Rolando", 2011, Graphite on paper, 22" x 18"

He has competed across the United States and India, winning many awards that showcased his remarkable artistry in the field. Tonape has judged many artexhibitions, worked at several renowned schools and universities, and has conducted workshops and presented discourses at numerous venues. There is a natural magnetic energy surrounding the passion-infused professor. He engages people with professionalism and pride. Countless artists across the world have been under the watchful eye of Vilas Tonape, and have only bettered themselves because of his mentorship.

"Drunk Detective", 2014, Pastel on paper, 25" x 19"

Beyond all the awards, of which there are dozens upon dozens, beyond the numerous recommendations and features in magazines, beyond all of those lines on a resume, there is something that only can be recognized as a deep need to create. This fire in Tonape’s spirit is made evident when he stands before students and artists alike, blowing the dust off of the goldthat they already possess within. If teaching is required, then demonstrating what it is that the students must grasp, is vital. Vilas Tonape not only introduces concepts of the Renaissance and Baroque Masters, he exhibits the techniques before his students’ very eyes. He focuses solely on what his eye sees in human features or folds of cloth, and he lets his hands show his students the way. Poetry unrivaled in beauty and grace emerges on the canvas before Tonape, and with one small gesture or movement the subject jumps off the page. 

"Anna Lisa", 2014, Pastel on paper, 22" x 17"

With only mere words to convey what this man does to his students, I will say that he bestows a gift beyond measure to them—the gift of art. Tonape is a teacher, an educator, and above all, he is an artist. He challenges those around him to dig deeper into themselves. He pushes himself to get better with each pastel and each painting that he does, only accepting the utmost excellence. There are few in this world that are both artist and educator; there are even fewer who grant others the opportunity to discover the magnificent world of a paintbrush or pencil.

                                                Elliana Hillhouse

                                                Trinidad, Colorado, USA
Published : 2014 _ art blogazine

PRESS RELEASE Exhibition: Contemporary Paintings of Avinash Godbole

PRESS RELEASE Exhibition: Contemporary Paintings of Avinash Godbole Date: April 14 – 21, 2014 Venue: Art Gate Gallery, Churchgate, Mumbai 

Byline: The Art Gate Gallery hosts an exhibition of contemporary paintings by Mumbai based Artist Avinash Godbole. 

(Artist: Avinash Godbole)

About the exhibition: In this solo exhibition Avinash Godbole is showcasing a body of 30 works, inspired by his own recovery from a stroke that left him crippled 11 years ago, and the gradual re-picking up of the brush one hand at a time. These paintings cover diverse subjects ranging from sexuality to philosophy, explorations of the human mind and resurgence from pain. What binds them together is the presence of emotions; whether it be the musician singing a soulful song or a human head - each conveys passion. The choice of colours is bold and the strokes strong and unwavering. Together they create paintings that not only move the viewer but stun with their intensity. 

(Untitled  :Acrylic On Canvas, 48 x 84"in by Avinash Godbole)

About the artist’s work: Godbole’s technique is expressive but his subjects introspective, as he deals with deep existentialist questions. Another recurrent subject is that of sexuality and how we human beings deal with or rather shuns it. Three years ago, Godbole created a series of 25 paintings describing his tryst with stroke. He was also invited to exhibit his paintings at the World Stroke Association's conference in Brazil last year. Hope is the message he wishes to convey to stroke patients and their families. This exhibition is a continuation and tangential progression to that theme. 

(Untitled  :Acrylic on handmade paper, 33 x 23"in by Avinash Godbole)

About the artist: Avinash Godbole graduated from the Sir J. J. School of Arts, Mumbai, in 1966. He taught in the same institute before working as a creative director in some of the top agencies across the country. All along his forte was and continues to be his illustrations. His work has been part of magazines and newspapers for over 30 years. He was inducted to the Commercial Artists Guild (CAG) Hall of fame in the year 1999. 

Godbole, though actively involved in advertising, always had painting as his first love. He continued to paint all along, through his hectic schedule. He has been showing his work regularly in galleries in Mumbai since 1997.  

The artist lives and works in Mumbai. 

He can be contacted at: +91 98206 57358 or emailed at ratangodbole@gmail.com

Exhibition details: April 14 – 20 (11.00 am to 7.00 pm) and April 21 from 11.00 am – 3.00 pm Art Gate Gallery 1st Floor (above Satyam Collection) Chheda Sadan 115, J Tata Road Churchgate Mumbai, India

The deadline for submitting applications is April 30, at 2pm

Carlos Garaicoa, Sin título, L.A. (Untitled, L.A.), 2005. Courtesy MoMA, New York.

International call for applications for Botín Foundation Visual Arts Grants and art workshop 2014

Application deadline: April 30, 2014

Botín FoundationPedrueca 1, 39003
Santander
Spain
T +34 942 226 072
info@fundacionbotin.org
www.fundacionbotin.org

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Botín Foundation Visual Arts Grants and art workshop 2014The Botín Foundation, Spain’s leading private foundation in terms of the scale of its investment, launches an international call for its yearly Visual Arts Grants, and for its summer workshop, to be directed this year by Cuban artist Carlos Garaicoa.
International Visual Arts Grants 22nd call 2014–2015The Visual Arts Grants provide artists with financial support for education, research and the undertaking of personal projects in the sphere of artistic work. To conclude the grant cycle, the Botín Foundation organizes a group exhibition featuring works by all the grantees, and accompanied by a catalogue. The call is open to individuals of any nationality; applicants must be over 23 and under 40. 
The deadline for submitting applications is April 30, at 2pm. All applications must be filled out online www.fundacionbotin.org. The other documents must be sent to the Botín Foundation in Santander. Works of artists selected in the last edition can be seen in the video of Itinerarios 2012–2013 here.
Summer workshopThe workshop will be led by Cuban artist Carlos Garaicoa and will take place in Santander (North of Spain) from June 30 to July 11. The workshop will admit a maximum of 15 artists. Applicants from any nationality will be considered. Participants who do not reside in Cantabria will be provided with free shared accommodation and a stipend of 455 Euros, paid at the end of the workshop. Applications must be submitted online by April 30.
Terms and conditions at www.fundacionbotin.org.

 

In the Shadow of the Anti-Nimbus- Ranjit Hoskote

(Rahul Vajale recent working in camp: 2013 )

At a time when many young painters are tempted to adopt one or another of the prevailing house styles of contemporary Indian art, Rahul Vajale pursues a refreshingly idiosyncratic agenda. His imagery is not influenced by the media. His work does not suffer from the semiotic clutter that afflicts any number of young artists, testimony to their misguided attempts at scanning and grabbing the hard-won sophistications of Parthan, Dodiya, Nair, Kallat and Natesan. Nor does Vajale try and win on mere scale, stretching paint and losing detail in the effort to cover the distance from one edge of a vast canvas to the other. And, most fortunately, he remains untouched by that XL enthusiasm for civil-society initiatives of social awareness which, in the absence of true radicalisation, serves numerous young artists as a feeble politics.

Instead, Vajale’s charcoal drawings on paper and acrylic paintings on canvas are marked by an attractive crispness of handling and clarity of image. His drawings insist, in their dramatic precision, that we follow the charcoal on its image-making journey around a head, rising up against the whiteness of the paper in jags, flows and curlicues: the line folds itself around the psychic history of a personality, real or imagined, and contours its representation accordingly.

(Mahatma Gandhi, Acrylic on Charcoal on canvas Size: 36x36", 2006 :by Rahul Vajale )

His paintings demand full-bodied engagement too. Look carefully at the animal baying at the moon: a chimera, part bull, part wolf, it has an intertwining serpent pattern painted on its flank. As it challenges the moon, its horns form a glowing, defiant crescent by themselves. Or is the wolf holding the moon in its jaws? Is the moon a waxy, golden chapati? Look, also, at the portrait of Van Gogh suspended in a field of colour with a prickly plant for company: yes, the genius of the tattered ear is now a cliché of artistic suffering, but gaze upon his serenity here, his anguish transferred, in the manner of the Rajput miniatures, to the symbol that accompanies him like a plaintive stringed instrument to the raga of his silence.

The energy that Vajale invests in evoking his figures is matched by the detailing he lavishes on the seemingly empty areas of field. His figures carry their histories with them, histories that are bred in the bone; and the fields they occupy are integral to their identity, tuning up a sense of loss, amplifying the melancholia of the long-distance dreamer. Consider, in this context, the man-rock-tree composites that fly past one another, at a distance, in the slow motion mandated by a zero-gravity space: there is more than a hint of Hanuman here, as he flies back to the battlefield of Lanka bearing the precious herb-scented mountain of Gandhamadhana; there is also more than a hint of the isolatos that we all are, carrying the hope of healing even as we pass each other by, as we travel through the large vacancies of hurt. While Vajale’s fictions captivate our imagination, his formal handling urges us to attend, again, to those seemingly lost properties: the cunning stroke of the brush and the delicious richness of vermilion, acid yellow, nocturnal black and forest green.

(Golden Hauman , Acrylic on Charcoal on canvas Size: 48x72", 2006 :by Rahul Vajale )

Indeed, the phrase ‘lost properties’ could act as our guide into the circuitry of Vajale’s imagination: in his vivid evocation of colour states and prickly symbols, he reclaims much that the senses have abandoned, that the intellect has grown to disregard. His paintings and drawings are generated around symbolic forms, but this should not suggest an aloof, abstract idiom. Vajale’s universe is elaborated, not from the standard dimensions that determine space, but from such unpredictable measures of sensual experience as dryness and sheen, volatility and weight, sharpness and ductility.

There is nothing withdrawn about his works: they are charged with an entire vocabulary of sensations. We feel, in his surfaces, the immediacy of clay, fire, maize, night, stubble, thorn and bone. We feel, in a word, visceral excitement in the use to which Vajale puts the inherited resources of the painter’s craft.

(Untitted, Acrylic on Charcoal on canvas Size: 48x72", 2006 :by Rahul Vajale )

Visceral excitement is exactly what Vajale feels in the presence of the human face. The faces of people he might see in the street or meet in paintings in museums return to haunt him; they urge him to memorialise them as portraits. But Vajale’s portraits are not transcriptions of retinal testimony; rather, they record the stylised aftermath of visual encounter. They capture some essential characteristic of the person receiving the artist’s attention, and translate these into a pictorial language that startlingly melds eulogy with caricature. Vajale recognises, and is ready to struggle with, the formal problems attendant on this choice of quasi-portraiture. Since his practice impels him to abstract the visual stimulus of a particular face from its lifeworld and translate it into a metaphorical proposition, the artist must manage a delicate balance between the distinctive and the generic.

Vajale develops his paintings and drawings from a secret archive: the ceaseless flow of doodles and ruminations that he makes in the sequence of notebooks that he has maintained over the years. This ongoing journal is a barometer of his works and days: in it, he records fluctuations of mood and speculations on fate; writes of chance happenings and dwells on the pressures and dilemmas of everyday life; sings of sleepless nights and happy meetings; stumbles on the patterns that occasionally reveal themselves from beneath the random movements of the mind.

Vajale’s gallery of heads, shaped in charcoal, follows the curve of this journal. His heads testify to the range of expressive possibilities inherent in the features of men and women: he treats the head frontally and in profile, now suggesting an imperial disdain, now a sage-like meditativeness; now a demotic handling, now a hieratic touch. By turns, the head is tonsured and cloud-haired, gorgonic and monk-like. What unites Vajale’s heads is the curlicued pattern that emanates from within them, curling out of the mouth or falling across the face, propping them up in lieu of a neck or swelling out like a luxuriant beard.

What is this signature device: an axis of flame; a spine; a necklace? On Vajale’s account, it is the mortal equivalent of the aura that is said to surround beings of high spiritual attainment: it is a versatile energy that could stand for virility or rage, focused attention or indwelling negativity. This anti-nimbus, this counter-halo is an integral feature of the emotional costume in which the artist clothes his unwitting sitters. It is, in fact, a symbolic reminder of our common humanity, hostages as we are to the passions, subject to a fate that we write for ourselves in the journal of our neurons, enzymes and hormones. 

-  Ranjit Hoskote

Paintings & Drawings by Rahul Vajale (Mumbai: September 2006)

‘I show the invisible in my works’- Vinita Dasgupta

Delhi-based artist Vinita Dasgupta on self-imagery, spirituality and sold-out shows

Among the works that sold out at the India Art Fair (IAF), the country’s largest exhibition-cum-sale of art held annually in Delhi, was an eccentric series with portraits of Marilyn Monroe, an unknown Indian boy, and the artist herself painted on layers of cigarettes. “Step closer, there’s something more beneath the obvious,” says Vinita Dasgupta, 30. On a second look, the “cigarettes” turn out to be canvas strips rolled into hollow pipes of various sizes. They are pasted together to create an undulating surface, giving Dasgupta’s paintings a three-dimensional appearance.

( Vinita Dasgupta's works at Indian Art Fair 2014- New Delhi)

Dasgupta has been selling out since she was a student at College of Art, New Delhi, in the early 2000s and the red dots at IAF have only sealed her place among the promising names of her generation. Relaxing in her studio, she looks less arty and more airy. No intellectual handlooms or ethnic jewellery; instead, she is a Delhi girl with straightened and streaked hair, a nose ring and four tattoos.

“I like to show the invisible in my works,” says Dasgupta. Each roll of canvas, she points out, contains icons or scenes from mythology — Rama and Krishna, Radha and the gopis — and Sanskrit shlokas, so that a painting is made up of many other rolled-up miniatures. “I was looking for a new style when a friend gifted me earrings made from bits of Coke cans twisted together,” she says.

Into this pop inspiration, Dasgupta fused images from Indian spirituality. “I am a seeker of spiritual truths. I travel to Dharamsala and Varanasi regularly to meditate. And I travel alone,” she says. Even the tattoo on her thumb has spiritual significance. “It’s the female moon sign in Chinese and is shaped like an Om,” she says.

As a child — when her first name was still Dipannita, which she changed in school without telling her parents — Dasgupta learnt Kathak, classical music, cooking and painting, participated in almost every activity in school and won lots of prizes, had friends but also spent a lot of time by herself. Consequently, her artwork looks inwards. Almost every series Dasgupta has produced since she turned professional in 2008 include reflections of herself.

Of these, My Window Shut to Open (2010) comprise acrylics, digital and mixed media juxtaposing a world as of candy coloured consumerism — through motifs such as lipsticks, multiple telephones, stilettos, shorts and sleeveless tops — with symbols such as the Taj Mahal (“my ode to builders who build great cities but go unnoticed”) and traffic signals (“It is only at red lights that we get a chance to look at people who live on the streets”). “When I was working on this series, I was always deep in thought. I would watch TV and talk to people, but when that external conversation stopped, the inner conversation would begin,” she explains.

( Vinita Dasgupta's works at Indian Art Fair 2014- New Delhi)

Dasgupta was among the toppers in the entrance exam at College of Art and she proceeded to spend her four undergraduate years metaphorically coloring outside the lines. “I would sit in the postgraduate class 

and hang out with seniors. I was constantly learning from those above me,” she says. Professors began to teach the new students on smaller canvases but Dasgupta regularly turned in large-scale works with strong, almost masculine, brush strokes. She also holds the distinction of winning the Women’s Athlete award four years in a row.Dasgupta’s first solo, in 2009, was titled “Fashion and Attitude: Womanhood under Scanner”. Befitting a post-liberalisation youngster, she tackled a different kind of existentialism from those of an earlier generation of artists. One of her works revolved around wardrobe malfunctions, with a traffic signal of the left glowing red. In another, Dasgupta contrasts the sashay of a model to the steady steps of women labourers carrying construction material on their heads. The exhibition sold out, which still surprises Dasgupta. “Maybe the buyers shared my vision,” she says. 

Since then, she has held four more solos as well as 200 group shows in India and internationally, with Delhi-based Art Konsult representing her since 2009. This year’s IAF was the first time that Galleria Art Lounge from Lisbon displayed her works, with successful results. The gallery has planned a solo of her works in Lisbon this autumn.

(Report courtesy Written by Dipanita Nath )| March 16, 2014 11:38 pm  ( Indian express)

Not to be Missed : 22nd March 2014 at Art Gate Gallery

SUKSHM

A show of recent paintings by Kumar Vaidya on 22 to 29 march 2014.

11AM to 7PM (Open on Sunday)

Preview on 21st March 2014. 5PM to 9PM

At art gate gallery above Satyam collection, next to Eros Cinema, Churchgate, Mumbai 400020.

Showcasing Indian art scene for the world...J.J Today & Tomorrow

In the last few decades, one has seen a reasonable growth in the contemporary art scene of India.

And in order to spread the awareness of Indian art and artists around the world, The Art Affaire, a platform for artists and art lovers alike, is hosting paintings by the ex-students and teachers of Sir JJ School of Art. A group show titled 'J.J Today & Tomorrow', the exhibit includes the work of 40 artists like Mangesh Kapse, Manohar Rathod, Abid Shaikh, Parag Kashinath Tandel, Javed Mulani, Vijay Bondar, Javed Mulani, Manohar Rathod, Abhid Sheikh, Raman Adone and others, alongside faculties from JJ School of Art like Anant Nikam, Douglas John, Dr Manisha Patil, Prakash Sonavane, Rajendra Patil, Vijay Sakpal, Vishwanath Sabde (Dean) and more. 

The JJ School of Art too, has a tradition of excellent painters and art teachers like M V Dhurandhar, Jagannath Ahivasi, Y K Shukla, S B Palsikar, Baburao Sadwlekar, PM Kolte and so on, who through their relentless efforts have played mentors to numerous talented artists over the years.

This art show will give aspiring artists an opportunity to show their talent.

(The exhibit is on from February 24 to March 2 from 11 am to 7 pm at the Art Gate Gallery, Satyam Collection, Opposite Churchgate station)(above painting by Raman Adone )

Krutika Behrawala,TNN | Feb 24, 2014, 01.03 PM IST