Selected works by Bharti Kher

Bharti Kher
An Absence Of Assignable Cause

2007

Bindis on fibreglass

168 x 308 x 150 cm
In part inspired by artists such as Hieronymus Bosch, Francisco Goya and William Blake, Bharti Kher references magical beasts, mythical monsters and allegorical tales in which they might feature in her work. The blue sperm whale is one of the world’s largest animals. Unable to find sufficient scientific documentation about its anatomy, Kher invented the appearance of the whale’s heart for An Absence of Assignable Cause. Created in fibreglass, the artist has decorated the enormous heart and protruding veins and arteries with different coloured bindis.
Bharti Kher
Hungry Dogs Eat Dirty Pudding (and detail)

2004

Fibreglass and plastic

40 x 100 x 125 cm
Relocating to New Delhi after studying art in Newcastle, England, Bharti Kher is an artist committed to exploring cultural misunderstandings and social codes through her art practice. Likening herself to the well intentioned ethnographer investigating her culture, Kher delivers a very forceful reinterpretation of modern India. In Hungry dogs Eat Dirty Pudding, a domestic hoover is covered in garish animal skins. These are the kind of inventive hybrid creations that Bharti Kher has made her own. Evoking the early work of Swiss artist Méret Oppenheim who covered a teacup, saucer and spoon with fur, Kher’s sculptural works appear incredibly surreal in their construction.
Bharti Kher
Untitled

2008

Bindis on painted board

173 x 311 cm
Highly regarded for her sculptural works, Kher has also produced paintings and installations that challenge cultural and social taboos in India. Untitled is composed of multi-layered and multi-coloured bindis. These numerous circles of coloured felt are concentrated on painted board. A reoccurring motif in her work, like the wheel rooted to the centre of the Indian flag, the bindi is at the centre of social and cultural identity and can be seen as a sign of the marital woman and her place in society. The bindi also traditionally represents a third eye, linking the spiritual and material world. In recent times, it has been reformed as a fashion accessory, available in different colours and shapes. With this work, the artist is signalling a need for social change and challenging the role of the women entrenched in tradition, whilst also commenting on the commoditisation of the bindi as a fashion accessory.

Articles

Selected Works By Barti Kher

8th February, 2011, by Input web, Art India Now

Bharti Kher (born 1969) is one of India’s best-known contemporary artists. Her work encompasses painting, sculpture and installation, often incorporating bindis — the popular forehead decoration worn by women in India — which in Kher’s hands become an epidermal filter, transforming objects and dissolving the distinction between two and three dimensions. She explores issues of personal identity, social roles and also issues around genetics, evolution, technology and ecology.
In part inspired by artists such as Hieronymus Bosch, Francisco Goya and William Blake, Bharti Kher references magical beasts, mythical monsters and allegorical tales in which they might feature in her work. The blue sperm whale is one of the world’s largest animals. Unable to find sufficient scientific documentation about its anatomy, Kher invented the appearance of the whale’s heart for An Absence of Assignable Cause. Created in fibreglass, the artist has decorated the enormous heart and protruding veins and arteries with different coloured bindis.
Bharti Kher is an artist committed to exploring cultural misunderstandings and social codes through her art practice. Likening herself to the well intentioned ethnographer investigating her culture, Kher delivers a very forceful reinterpretation of modern India.
In Hungry dogs Eat Dirty Pudding, a domestic hoover is covered in garish animal skins. These are the kind of inventive hybrid creations that Bharti Kher has made her own. Evoking the early work of Swiss artist Méret Oppenheim who covered a teacup, saucer and spoon with fur, Kher’s sculptural works appear incredibly surreal in their construction

Read the entire article here
Source: artindianow.in

images without borders, by ASHRAFI S. BHAGAT


THE world wars initiated a process of migration by intellectuals ďż˝ this included artists, scientists and philosophers, among others - to the United States ending the dominance of Paris as the heady art capital. Instead, New York donned the mantle.

By the 1960s, art had become international.

The exhibition "Borderless Terrain" curated by Dr. Alka Pande allows for this discourse. According to her, it attempts to showcase issues - plurality, heterogeneity, migration, travel, transculturation, contact zones, hybridity, de-territorialisation, re-territorialisation, identity, nationality and nationhood - that are at the forefront of artistic practice the world over.

As a visual language, art melts barriers and, in the last few decades, there has been a definite move towards the macro-spaces of globality, bringing together artists on a plane where individuality celebrates differences. In the case of diasporas, exiles, immigrants and emigrants, struggles with dislocation and recognition of the empowering potential remain a constant engagement. And within such a milieu, identity is not discovered but established by acts of self-representation t,hat are political. Certain kinds of cultural forms had to be negotiated in the process of identity construction becoming, in the bargain, an establishment of differences as well as an accretion of experiences. "Identity is neither continuous nor continuously interrupted but constantly framed between the simultaneous vectors of similarity, continuity and difference." (Stuart Hall). This question of identity carries valence for artists particularly in the age of globalisation where boundaries are not so definite and the dynamic interactive process through diverse media takes precedence which is essentially observable in the virtual space that has shrunk the world to a small screen. Globalisation has been the tendency to treat history, culture and political economy as a world system with the possibility of reducing it to a single and unique point of view. But for the artists' fraternity, the heightened differences make their creative experiences unique.

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Source: thehindu.com