Selected Works By Barti Kher8th February, 2011, by Input web, Art India Now
Bharti Kher (born 1969) is one of Indiaâ€™s best-known contemporary artists. Her work encompasses painting, sculpture and installation, often incorporating bindis â€” the popular forehead decoration worn by women in India â€” which in Kherâ€™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 worldâ€™s largest animals. Unable to find sufficient scientific documentation about its anatomy, Kher invented the appearance of the whaleâ€™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 MĂ©ret Oppenheim who covered a teacup, saucer and spoon with fur, Kherâ€™s sculptural works appear incredibly surreal in their constructionRead the entire article hereSource:
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. Read the entire article hereSource: