Jagannath Panda: “Metropolis of Mirage”

SOLO SHOW by Jagannath Panda: “Metropolis of Mirage”

Opening on Sunday, August 28th, 2011 from 4 to 8 pm.
Exhibition continues to Saturday, September 3rd.


Nature Morte is pleased to present a solo exhibition of new works by the New Delhi-based artist Jagannath Panda. This is a preview of his new works that will be included in his solo show at our Berlin gallery (Sept 24 – Oct 22). For this reason, the works will only be on view in our New Delhi gallery for one week.

Panda’s works continue with his characteristic collage technique, in which the surface of the canvas or sculpture is built up with the addition of brocade fabrics, blended together to create the skins of beasts and feathers of birds, to mimic foliage or approximate man-made surfaces. This hybridized surface treatment corresponds with many of the artist’s themes, which focus on moments, locations and icons that are in a state of flux, caught between oppositions that are being reconciled only with both anxiety and confusion. Panda’s portraits of the burgeoning new city of Gurgaon (where he lives and works) illustrate the tensions to be found there, as over-development threatens natural habitats and infrastructures prove to be inadequate even before they are completed. Likewise, Panda’s mix of the mythological and the realistic points to the disoriented nature of Indian identity today, as it hopes to synthesize the traditional and the contemporary, the indigenous and the international, the imaginary and the actual.

In addition to the works travelling to Berlin, one new large sculpture will be on display. This has been created for a group show on the subject of spirituality in contemporary art to be held at the Asian Art Museum in San Francisco in May 2012. And two major paintings that were previously seen in group shows at the Lalit Kala Akademie in New Delhi (Common Wealth Games exhibition, October 2010 and “Tolstoy Farm” curated by Gayatri Sinha, April 2011) will also be included in this show at Nature Morte.

Jagannath Panda was born in Bhubaneswar in 1970 and received his BFA in sculpture from the BK College of Art & Crafts, Bhubaneswar in 1991 and his MFA in sculpture from the MS University, Baroda in 1994. Subsequent studies took him to the Fukuoka University in Japan (1997) and the Royal College of Art in London, where he received an MA degree in sculpture in 2002. Solo exhibitions of his work have been held at Nature Morte in New Delhi (2009, 2005, 2000); the Chemould Gallery in Mumbai (2007, 2000); and the Alexia Goethe Gallery in London (2009). He has been included in a wide number of important group shows including “Indian Highway IV” at the Lyons Museum of Contemporary Art, France; “Indian Highway V” at the MAXXI Museum in Rome (upcoming); “Transformation” at the Museum of Contemporary Art, Tokyo; “Chalo! India” at the Mori Art Museum, Tokyo; “Where in the World,” the Devi Art Foundation, Gurgaon; and “Midnight’s Children,” Studio la Citta, Verona, Italy (among many others).


Nature Morte is open Monday through Saturday, from 10am to 6pm, and closed on Sundays. For more information and press photographs please contact Geeta Bajaj at (011) 4174-0215 or Rajeev Dhawan at (011) 2956-1596.

SOLO Show by Ajay Mohanty at New Delhi

Started at Ashok Art Gallery, It will be on vew till 6th of february

little about: The art tradition in India is so very strong that artists adapt the visual elements with subtle changes to suit contemporary makeover. In the case of Ajay Mohanty, one could easily consider these remains. They have emerged with subtle aesthetic layers with focus on the compositional patter. Stylistically different though but the gestures and colour have strong reference points. The only deviation perhaps is that of the space treatment and that make it visual strong and appealing.His works hover on the verge of resolve, oscillating between fragile spaces and painterly surfaces arrived at by a variety of means. While his interest in painting's history is visible, each painting is treated as an open ended exploration. The work functions with its own internal logic yet is firmly rooted in the world of experience, displaying a gentle but insistent emotional undertow.

Each of the works on display require time and scrutiny to reveal their quiet intelligence and strong determination to capture the poetic capabilities of the artists' chosen medium. In this technology driven era, it is easy to forget the role of the handmade object and the importance it plays in a contemporary context. Not overly pretentious or garishly imposing, Ajay the artist in this exhibition force the viewer to look beneath what is literally seen to reveal questions about their mediums' historical burden.

Ajay Mohanty received his BFA from Utkal University at B.K. College of Art and Crafts, Bhubaneswar, Odisha, 1996, He was awarded by Lalitkala Academy as best child artists at his age 11, after his fine art education he shifted to Delhi and working on creative field, over the past five years, participated in numerous group shows.His works has been showcased in both the Indian Art Fair, India Art Summit, New Delhi and Art Expo India, Mumbai by Ashok Art Gallery.


INNOCENT DIVINE

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India 2008, 09 Mumbai and India Art Summit 2008 New Delhi.

The latest video by Pratul Dash at New York, "The Story of a Landscape" (2010)

Opening : 29 October 2010, 6:30 to 8:00 pm

Exhibition opens to the public November 01 - December 04, 2010.

Sponsored by Tamarind Art Council

The latest video by Pratul Dash, "The Story of a Landscape" (2010), in the gallery's main hall is an experimental fusion of live action and animation with digitally stitched landscape depicting two of the artist's oil paintings named, "Conch Blower" and "Man with a Camera". The work will extend and amplify the conscientious nature of Dash's recent work, demonstrating an evolution in Dash's practice, with elements not often seen in his past work such as the use of CG animation. The film opens with picturesque landscape, alluding crisscross sections of time and space. When idyllic representations are subverted by the artist's perception, the landscape becomes a site of haunted desolation.

As an artist who was born in a small town in India and migrated to bustling metropolis in his adult life, Dash's art is very sensitive to his environment, reflecting the socio-cultural ethos he inhabits and works from. "Life of a Double", a disturbing dual projection is a product of artist's endless quest to locate the urban and the existence of the human beings in the urban locale.

In "Reflection", the viewer can sense the pain caused by displacement of the self and the physical body, and the struggle of trying to exist in as familiar land as a rightful citizen rather than a refugee.

Pratul Dash is an artist on the rise both at home and internationally. Dash, (b. 1974, Orissa, India) has exhibited extensively in major international institutions and has received numerous awards including, the prestigious Industrial literature society, Biella, Italy in 2005 and a scholarship from the Inlaks Foundation in 2004; the M.F. Husain award from the College of Art, New Delhi, in 1998; and three annual awards from the B.K. College of Arts and Crafts, Bhubaneswar, in 1991, '92 and '93.

Select solo exhibitions by Dash include 'Human Spaces', Sarah Khan Contemporary Art, Schaan, Switzerland, 2010, 'Proxy Origin', Palette Art Gallery, New Delhi, 2008, showcased at both the Indian Art Fair: India Art Summit:2008 and Art Expo India: 2008, 2009 by Ashok Art Gallery, 'Neo-Istoria' at Palette Art Gallery, New Delhi, in 2007; 'UNIDEE in Residency' at Cittadelarte, Italy, in 2004; and those at Krishna Collections Art Gallery, New Delhi, in 2003; Triveni Art Gallery, New Delhi, in 2001; and Rashtriya Lalit Kala Academy, Bhubaneswar, in 1995. Dash currently lives and works in New Delhi, India.

About Tamarind Art Gallery

Established in 2003, Tamarind Art is an innovative forum for Indian contemporary art that inspires and challenges global audiences to embrace an understanding and dialogue about art in today's day and age. Tamarind Art encourages broad-based practices, encompassing a myriad of realms such as painting, sculpture, photography, installations, and video art projects. In addition to showcasing high caliber art, our mission is to become the premiere resource center for gaining an understanding of Indian art and artists who engage themselves into a challenging spectrum of work. In dealing with global issues that reflect contemporary society's concerns while documenting today's reality, rendered in a veritable and expressive light, these artists yield artistic versatility to Tamarind Art.

For more information about Tamarind Art Gallery, please visit our website at www.tamarindart.com

Tamarind Art Gallery is located at 142 E. 39th Street, New York, NY, 10016. Contact us by calling (212) 990-9000 or emailing info@tamarindart.com

SOLO show of Drawings by Purna Behera @ Triveni Kala Sangam, New Delhi

You are all cordially invited to DIGGING-HISTORY, a solo exhibition of Drawings
On preview at 6.00pm. 26th March 2010 and it will continue till 5th April 2010
At: Triveni Kala Sangam 205, Tansen Marg, Mandi House, New Delhi
Your presence will be a inspiration for me and will love to see you there
Purna Behera
AlumniBKCAC

Prof. Paresh Choudhury(Communication Design MIT ID) a proud alumni BKCAC

Paresh Choudhury is an Alumni of B. K. COLLEGE OF ART AND CRAFTS and He is presently teaching at MIT Institute of Design as Professor in Visual Communication.

Slums in Neighbourhood is the subject to highlight on Indian Art Fair Mumbai 2009 said Kantakishore

Kanta Kishore has picked the popular slum with a different perspective that essentially deals with the core of the subject


KANTAKISHORE MOHARANA represented by Ashok Art Gallery

Slums in Neighbourhood

Artists are exploring new media and techniques to convince the viewer in the present day. The range of subjects that the artist deals with today is intriguing and relevant. Indian art seems to have transformed from modesty to market and the journey has been interesting too. The turning points of art here depend heavily on the attitude of the artists and what we have noticed is the increase in the intellectual input with passing time. This has carried us forward from the agreement of the narratives in mythology and epics to negotiating society to human awareness of several factors. Our surrounding and social concerns have always motivated us to a new high. Kanta Kishore is no exception.

Kanta Kishore has picked the popular slum with a different perspective that essentially deals with the core of the subject. The effort by the dwellers to construct the beautiful and magnificent in the city remains in the most neglected part of the earth. Their struggle for existence depend on adversities of life and in the process, they sometimes smile up to their success, which is rare, and rest of the times, lament over their survival. In all these conditions, a pair of sleepers perhaps allows them to retain the honour of human while addressing the rough patches leading to life. The chaos of arrangement also depicts the lifestyle of people inhabit. However high or low they might go individually but collectively they remain intact to the nails that bind them to the ground. The insiders story of constructing a world imagined for the other rightly develop the concept of living.

The composition has deliberately caught our concern for the slum and its dwellers. The symbolic is apparent, expressive and transformed; it suggests the simplest of material in high coordination with installation art. The painting complements to the installation by making it look obvious and illustrative. Kanta Kishore has seemingly taken a defensive position in portraying the subject though several aggressive pointers are available to us. The approach to the subject is worth admiration. The awareness to uplift the downtrodden needs more application both politically and socially. The change is coming at a slow pace and it would appear significantly in future. The makeover through the artistic expression is to the concern is remarkable.
Sculpture Review by Dr. Pradosh Kumar Mishra(Art Historian)
Watch out for this growing talent in Art Expo India: Kantakishore Moharana

Pradosh Swain has attempted global issues in simplest and readable visual term.

Any work of art for that matter has certain ideas to deliver, but this seems to have engaged the viewer with more than one implication. Initially aimed at presenting the environmental issue, that is one of the phenomena, quite clearly depicted by many artists of the present day. It is uniformly received by the politicians, sociologists, scientists and artists as well. ‘The habitation in nature’ an exhibition showing Pradosh Swain’s recent works at Ashok Art Gallery.

Concrete Demon illustrates a typical and unusual scene, amazing and interesting too. The manuscript unfolds to release Lord Rama with his attributes, bow and arrow, to kill the concrete mixture that is commonly seen at the construction sites. It has several layers of implication: dwelling between tradition and modern, oppression and liberty, nature and environmental hazard, mobility and stillness and so on. It presents a feeling of awareness and concern.

Rama, the maryada purusha, as he is commonly known and we believe had a genuine understanding of nature as he lived his significant part of life within nature, interacting with various aspects and adopting several laws of natural world. He is seen liberating the self to take on the direct fight once again with the demonic form (concrete mixture = Ravana) to bring back peace to the mankind unaware of the fact that in this corrupt world, what wins is not the environment but the brokers of nature, while the sufferer is entire world.

In the present day, Rama has become the source of inspiration to many; politically, environmentally, culturally, as people have conveniently adopted him. Now he has been reduced to a manuscript as an abode, cultivating the nature within the parameters of palm leaf. A simple narration that recreates the Rama in Odissi Pata painting form and symbolically covering him with the foliage, to relate nature in him; palm leaf as a major and popular medium in Orissan traditional art is placed intelligently to show the manuscript and a horrifying background depicting the uncertainty of human life. The composition is poised with intellectual input and social awareness.

The world is changing and also the attitude of man. Travel is part of human being’s life. With every passing day more and more information regarding the destinations are reaching us motivating us to explore the new area of substance. Reasons of such moves are many, ranging form family holidays to corporate leisure. Many natural sites are revisited and new sites introduced to us. We move from place to place encroaching the nature’s domain and without even being careful. Often we ignorantly spoil the nature and sometimes become more adventurous in misusing the resources. This has resulted in the natural devastation and we can feel the heat of global warming all through the globe. We have started paying the price for someone else’s fault. Towards Wind seems to present before us the nature that is supposed to nurture us, our lives and motivate our minds, inspire us to face new challenges, has now started throwing new challenges to us pointing its protection and expecting a little compassion and love for itself. We have reached a pitiable condition, where no road leads ahead.

A time would arrive when we would need a fan painted with nature (allegorical) in a hill top (station) to satisfy us from heat. The extent, as the artist has pointed, might go up to reaching near to the fan blades to occupy the most of air the fan delivers. The message is clear and loud, save it (nature) to be a part of it or stay alone to die hard.

The cities are now developing fast and at a disagreeable pace. The requirement of man is getting wider day by day. To achieve these desires one makes compromises with the nature, its habitants and the balance. We have significantly converted the animal’s bay purposefully to suit our ideals. So every other day we hear news about tiger creeping in to village and start shouting about the facing new danger. Rationally we have threatened their habitation in nature. The spread of the cities never care about the essential ‘other’. Fisher in Metro is just about that. In the image showing the kingfisher (namesake) sitting on a basket ball net (replacing the tree branches) and concentrating on a swimming pool (replacing the village pond), which is temporarily set on a spatula (showing its position), while a young woman is diving into the pool. This visual narrates the reality; of how the cities are facing structural conversion everyday, the danger of scarcity facing us today and its horrifying future and similar struggle.

Pradosh Swain has attempted global issues in simplest and readable visual term. What interests me is his concern about nature and its protection in order to avoid the Global Warming. ‘The message is not new’, as he explains, ‘and it is not educating too. I just paint to define my understanding of the subject’. He adds, ‘much has been spoken and delivered visually by the NGOs and similar volunteer organisations to mass through electronic and print media. But artist has his own creative view point that sometimes visualises the imagined future’. Let us not make big promises that are difficult to keep but small acts that are easy to follow in order to upkeep our environment. Is someone practising! Pradosh Swain works and live in Delhi, India.

Dr. P. K. Mishra (Art Historian)
Presently Serving as Associate Professor, BHU

Chitra Murchhana: art and friends workshop at Bibhuti Kanungo College of Art & Crafts

Bibhuti Kanungo College of Art & Crafts, Bhubaneswar has completed its successful 25 years, creating a revolution in art education in Orissa. The alumni of the college have joined together as a group to celebrate the occasion of Silver Jubilee. A series of events like art interaction, symposium, film shows, exhibitions, conference, workshops, public art etc are planned to take place spread over the whole year. The alumni BKCAC, comprises of the artists those have passed out from the college and have contributed significantly to the world of fine art in various capacities. Several art events in the state, in the recent past, have been organised by the alumni independently and it has considerably taken over the past controversies in the art field of Orissa. Now we have come up to the match of the national and international demand in the art field.
On the occasion of Utkal Divas the alumni BKCAC decided to begin its Silver Jubilee event with Chitra Murchhana: a workshop for students, teachers and friends of BK College, where the 100 feet canvas was commonly painted by the artists on site at the college premises. This event was formally inaugurated by Shri Bijay Jena, Commissioner, Ministry of Culture, Government of Orissa in the presence of Dr. Alekh Charan Sahu, Principal, B K College and Shri Adwaita Gadanayak, President and Shri Subrat Mullik, Secretary, alumni BKCAC.

Speaking about the objective of the organisation Subrat Mullik said, ‘the alumni BKCAC aims at inspiring the young and talented students to participate and interact in the global sphere and to introduce them to the latest art education in fine art.’ Principal of B K College, Dr. Alekh spoke about the noble effort by the alumni for the development of students and the college as a whole. ‘The alumni has transformed the college atmosphere and charged it with enthusiasm and creativity’, expressed Alekh on the occasion of inauguration.

Veteran artist and retired teacher Shri Siba Panigrahi was nostalgic and passed through the memory lane to recollect about the barren land where the present is located and how much effort has gone into its making. He mentioned about how the effort of the first Principal Dr. Dinanath Pathy’s constant follow-up made it possible. Further he impressed upon the formation of the college at Cuttack in the name of Bibhuti Kanungo and its transformation into the art college in Bhubaneswar through the political efforts. He also suggested preparing a bronze statue of Bibhuti Kanungo and place in front of the college. Mr. Bijay Jena in his deliberation as chief guest spoke about the contribution of the college and its function in the last few years. He spoke about the state participation and realising the dream of a Modern Art Gallery in Bhubaneswar. The initial move has begun and he requested the college authorities to cooperate in the venture so that one step could be taken toward the achievement. ‘I appreciate the collaboration by the alumni in growth of the Orissan art situation and hope the proposed events would be beneficial to the young and upcoming artists in Orissa, concluded Shri Jena.

Adwaita Gadnayak said that, ‘let us move from here and make Bhubaneswar a global hub for art activities instead of going out to the cosmopolitan cities and search out a niche, which is not only difficult but sometimes disgusting too.’ He was speaking about the resources in Orissa and the art activities. In his presidential address he invited the young artists to collaborate and make the silver jubilee event successful. The support was acknowledged by Dr. Pradosh Mishra, an alumnus, who was participating in the event from Banaras Hindu University. On this occasion, eminent artists like Shri Siba Panigrahi, Shri Pramod Mohanti, Shri Gouranga Bariki, Shri Kashi Jena and Shri Jayant Das, Shri Tarakanta Parida, Ashok Nayak and many others were present. The event was coordinated by Shri Bijay Nayak.
Following the inauguration, all the artist members including Chief Guest Shri Bijay Jena sketched on the 100 feet canvas and made the workshop colourful. Every member participated in the event enthusiastically and contributed to the stretch of the canvas. Alongside the sketching, they interacted and alumni exchanged their memory about the college and the art field in Orissa. The beginning of the event was marked by a chorus of Vande Utkala Janani by young children that impressed the audience. The first event by the alumni BKCAC on the 1st of April, 2009 the independence day of Orissa thus became meaningful and would keep the artists inspiring for long time to comoe.

The Hindu

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Pradosh Mishra and his doctoral research on Emerging Trends in Contemporary Indian Painting

PRADOSH MISHRA

Associate Professor, Department of History of Art
Faculty of Arts, Banaras Hindu UniversityVaranasi-221005

Topic of Doctoral Research

Emerging Trends in Contemporary Indian Painting during 1990 and 2004: A Study in the perspective of Globalisation and National Identity

Area of Specialisation

Contemporary Indian Art, Traditional Sculpture Workshop in Orissa

Fieldwork

Since 1994 documenting living and working conditions of Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa

Professional Experience

Teaching 11 years

I) Post Graduate courses in History of Art (Indian Aesthetics, South East Asian Art, Pahari Painting, Contemporary Indian Art, Art Exhibition Management)
II) Graduate Courses in History of Art (Western Art, Indian Sculpture, Indian Painting, Fundamentals of Indian Art)
III) Post Graduate and Graduate Courses in History of Art at Mahatma Gandhi Kashi Vidyapith, Varanasi (Western Art-Modern and Post Modern) as a guest faculty.
IV) Post Graduate and Graduate courses in History of Art at Faculty of Visual Art, BHU Varanasi (Modern Indian Art- Painting and Sculpture, Modern Western Art) as a guest faculty.
V) Graduate Courses in Mahila Mahavidyalaya, BHU, Varanasi (Indian Painting) deputed by Department of History of Art, BHU


Publication/ Editorial Association

Workshop Tradition in Orissan Sculpture (in Press)

Co-Author, ‘Chandrasekhar Rao- Life and Work’, with Dr. Dinanath Pathy, published by Working Artists Association, 2000

Editorial Assistant, Kala Samvad, Lalit Kala Akademi, New Delhi, 1995

Associate Editor, ‘Tribal Art, Primitivism and Modern Relevance’, published by
Working Artists Association, 1990


Papers and Articles Published

Contemporary Indian Art: New Imagery and the Question of Identity, paper published in NAFA Symposium on New Asian Imaginations, Singapore, 2008

Globalisation and contemporary visual art: A case study of India, paper abstract published by the ICAS 5, Kuala Lumpur, Malaysia, 2007

Shifting Mind-Engaging Space, Bronze, Gallery Espace, New Delhi, 2006

The Problem of Art Historical Studies in Orissa: Vision and Contribution of Dinanath Pathy. (paper accepted for publication)

Spelling the Regional Flavour, ‘Let a Thousand Flower Bloom- Contemporary Art Of Orissa’, Aryan Book International, New Delhi and Working Artists Association of Orissa, 2001

Figurative Transformation, Oddiyan: Six Contemporary Painters of Orissa, Herman Publishing House, New Delhi, 1997

Reverberation, Exhibition Catalogue of Chandrasekhar Rao, 1997

Into the Realms of Unknown, Beyond the Shores, Viswa, New Delhi, 1995

Primitive Influence on Udayagiri Cave Sculptures, Tribal Art, Primitivism and Modern Relevance, Working Artists Association of Orissa, Bhubaneswar, 1990

Number of Reviews, Art analysis on contemporary art and Book reviews published in the Daily Newspapers in Orissa.




Catalogue Publications

Art Interaction, Documentation of Indo-German Artists Workshop, Varanasi, 2003

Regional Art Exhibition, Varanasi Zone, Lalit Kala Akademi, Lucknow, 2002



Seminar Participation and Papers presented

Contemporary Indian Art: New Imagery and the Question of Identity, paper presented in absentia in NAFA Symposium on New Asian Imaginations, Singapore, 2008

Possibilities of Lacquer in Contemporary Art as a medium: New Dimensions, National Seminar on Lac in Indian Art and Culture, Balasore, Orissa, 2007

The Living Tradition of Stone Carving in Orissa: Texts and their present Relevance with reference to Master Artist Khirod Chandra Maharana of Lalitagiri, National Seminar on Silpa Texts and its Relevance, Jnana Pravaha, Varanasi, 2003

Shift in Stone Workshop Practices- a case study in Lalitagiri, National Seminar on Art Practices in India Today, Bhubaneswar, 2001

Traditional Linkage in Contemporary Orissan Art: Towards a Regional Vocabulary, National Seminar in Millennium Multimedia manifestation, Bhubaneswar, 1999

Concept of time in Dancing Sculptures of Konarka, International Symposium on Sculpture and Dance, Varanasi, 1999

Urban Experience of the Contemporary Artists of Orissa with reference to Working Artists Association, National Seminar on Urban Image in Contemporary Indian Art, Faculty of Visual Arts, BHU, Varanasi, 1998

Himalayan Landscape Painting by some Contemporary Indian Painters: An Observation on treatment of Space, National Seminar on Himalayan Glory, Allahabad Museum, Allahabad, 1998

Participated as an Observer in the National Seminar on Terms and terminologies in Indian Art, Lalit Kala Akademi, New Delhi, 1994

Primordial Influence on the Paintings of some Contemporary Painters of Orissa, National Seminar on Primitive Vigour as a part of Festival of India to Moscow, Lalit Kala Akademi, New Delhi, 1991

Importance of Art Education in Primary Schools in Orissa, State Seminar on the Status of Art Education in Orissa, Bhubaneswar, 1989

Contemporary Art Situation in Orissa, National Seminar on the Contemporary Art and Artists of Orissa, 1988



Workshops Attended

Workshop on Indian Bronzes, Sarabhai Foundation, Ahmedabad, 1998

Art Appreciation Workshop, Lalit Kala Akademi, Orissa, 1996

Technical Workshop on Conservation and Preservation of Art Objects, by Indian Conservation Institute, Lucknow, organised at Govt. Museum, Chandigarh, 1993

Painting Workshop organised by HABITAT, Bhubaneswar


Member of Professional Bodies

Member, Working Artists Association of Orissa, Bhubaneswar

Member, Indo-German Art Forum, Varanasi, India


Projects

Art Interaction- Exhibition of the produce of Indo German Artists Workshop, Jointly Organised by the indo German Art Forum and Department of Fine Arts, Mahatma Gandhi Kashi Vidyapth, Varanasi, 2003

Joint Organiser of Indo- German Artists workshop held at Department of Fine Arts, Mahatma Gandhi Kashi Vidyapith, Varanasi, 2003

Graphic Prints and Paintings by four German Women Artists, ABC Art Gallery, Varanasi, 2003

Visualised the Regional Art exhibition organised by State Lalit Kala Akademi, Lucknow, 2002

Visualised Painting and Photo Exhibition, Himalayan Glory, Allahabad Museum, Allahabad, 1998

Art Director, Swang Manch Theatre Group, Chandigarh, 1994

Audio- Visual Documentation of Contemporary Orissan Artists, Central Lalit Kala Akademi, New Delhi, 1993

Awards

Award by Orissa Media Centre, Sunanda Pathy Foundation and Bhubaneswar Sahitya Samaj for Art Historical Studies and Art Criticism in Orissa, 1997

State Award for Painting, Working Artists Association of Orissa, Bhubaneswar, 1997

Chhanda Caharan memorial State Award, 1997

Award for Best Painting and Cartoon in Panjab University, Chandigarh, 1994


Exhibitions Participated

Working Artists Association, Orissa
State Lalit Kala Akademi, Orissa
Rashtriya Kala Mela, Bangalore
Regional Art Exhibition, Bangalore
State Level Art Exhibition by All India Fine Art and Crafts Society, New Delhi
Beyond the Shores, Rabindra Bhawan, New Delhi
Spring is Not Over, Punjab Lalit Kala Akademi, Chandigarh

Solo Exhibition

WASH, Watercolour Painting Exhibition held at Hotel Oberoi and Hotel Kalinga Ashoka, Bhubaneswar, Orissa

Pradosh Kumar Mishra received his education in Bhubaneswar, Chandigarh and Varanasi. He completed his Doctoral research on Emerging Trends in Contemporary Indian Painting, a Study in the Perspective of Globalisation and National Identity from 1990 to 2004.
He has produced an audio-visual documentary on Two Contemporary Painters of Orissa for National Lalit Kala Akademi, New Delhi in 1993, and has extensively documented various living Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa (India) under the project Workshop Tradition of Orissan Sculpture from 1994 to 2000.
Mishra also co-authored a monograph entitled Chandrasekhar Rao: Life and Work, published articles on Contemporary Art in publications entitled Bronze (2006), Let a Thousand Flowers Bloom (2001), Oddiyan (1997), Beyond the Shores (1995), and Tribal Art: Primitivism and Modern Relevance (1990).
He has presented papers at several national seminars on art historical studies and participated in an international symposium on sculpture and dance, organised by Ram Chhatpar Shilp Nyas (1999), and Art Interaction, organised by Indo-German Art Forum (2003) at Varanasi.
Pradosh Mishra is an alumni of BKCAC and he is working as a Exceutive member of the organization

AlumniBKCAC

City Office : Plot-132 1st Floor,Forest park, Bhubaneswar, Orissa, India, Pin-751009

Campus Office : B.K.College of Art and Crafts,Tapovana,KhandagiriBhubaneswar, Orissa, India, Pin-751030

Web : http://www.alumnibkcac.org/