Vinod Dave - Fine Artist

Vinod Dave

New York, NY - United States

 
 
 

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Vinod Dave

New York, NY - United States

Vinod Dave - Fine Artist

Member Since:

January 20th, 2007

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About Vinod Dave

ART EDUCATION:
Digital Film Making, New York Film Academy, 2007.
Cibachrome Printing, International Center of Photography, 1990.
MA in Mixed-Media, Highest Honors, University of South Carolina, 1984.
MFA in Painting, Highest Honors, M.S. University, India, 1976.
BFA in Painting, Highest Honors, M.S. University, India, 1974.

EXHIBITIONS:
• Have held solo exhibitions at: Jehangir Art Gallery and Tao Gallery, Bombay (2005); Gallery ArtsIndia, New York (2004); Gallery Sumukha, Bangalore (2003); Apparao Galleries, Bombay, Madras and New Delhi (2000); Bose Pacia Modern, New York City (1998); Gallery 7, Bombay and Vadehra Art Gallery, New Delhi (1997); Gallerie 24, The Hague (1994); Center for Contemporary Art, New Delhi (1990); Gallery Chemould, Bombay (1986 and 1993); Girdharbhai Sangrahalaya Museum, Amreli, India (1987): Contemporary Art Gallery, Ahmedabad (1983); Max Mueller Bhavan, Bombay (1981); Jehangir Art Gallery, Bombay (1980); Hutheesing Visual Art Center, Ahmedabad (1979) Art Heritage Gallery, New Delhi (1978 and 1982);
• Have had invited participation in: HOME AND THE WORLD, Rutgers University (2005); TIMELESS VISION at Peabody Essex Museum, Salem (1999) and at Haggerty Museum, Milwaukee (2000); KALIGHAT PAITING at Los Angeles County Museum of Art, (1999); EPIC REALITY at Houston Contemporary Art Museum (1997); THE OTHER WAY OF SEEING at Museum voor Volkenkunde, Rotterdam (1992); ); SOUTH OF THE WORLD at Galleria Civica D’Arte Contemporanea with Museo Civico, Milan (1991); CHINA-JUNE 4 at P.S. 1 Museum, New York (1990); ARTIST IN MARKETPLACE at the Bronx Museum (1988); FLAMES OF INDIAN ART at Worcester Art Museum (1986) and FESTIVAL OF INDIA exhibitions at NYU’s Grey Art Gallery, Bucknell University’s Center Art Gallery, Robert Hull Fleming Museum and Hood Museum (1985-1986).

AWARDS/GRANTS/FELOOWSHIPS:
• Had won the following fellowships, awards and grants in recognition of creative accomplishments: New York State Consortium for Workers’ Education Grants for Computer Literacy (2003); Beaumont Foundation of America Technology Grant (award of a laptop computer) (2003); New York Foundation Arts Recovery Grant (2002); New York Association for New Americans Grant (2001); Pollock-Krasner Foundation Fellowship (1994); Artist’s Fellowship of the New York Foundation for the Arts (1990); Gottlieb Foundation Medical Grant (1990); Asian Cultural Council Fellowship (1983/84); MicKissick Museum Drawing Award (1983); Research Fellowship of Lalit Kala Akademi, New Delhi (1980/81); Cultural Fellowship of Culture Ministry of India (1975/77); OASIS Painting Award (1976); National Scholarship, India (1974).

COLLECTIONS:
• My art works are in the following collections: National Lalit Kala Akademi; Gujarat State Lalit Kala Akademi; Punjab University Museum; Lintas India; Tata Corporation; Max Mueller Bhavan; Swedish Embassy; Museum voor Volkenkunde, Rotterdam; Peabody Essex Museum; Lufthansa German Airlines; Asian American Arts Center; Asian Cultural Council; Darpana Dance Academy, India; Haryana State Tourism Corporation; Chester and Davida Herwitz Trust; The Alkazi Collection and private collections.

BIBLIOGRAPHY:
• Had works published in the following books: HOME AND THE WORLD, Cambridge Scholars’ Press (2005); CONTEMPORARY INDIAN ART – Other Realities, Marg Publication, (2002); COMERADES AT ODDS, Cornell University Press (2000); CONTEMPORARY ART IN BARODA, Mapin Publication (1997); MYTEC DIRECTORY OF PHOTOGRAPHERS, Mytec Press (1991); CONTEMPORARY INDIAN ART, NYU Press (1985/86); FESTIVAL OF INDIA, Harry N. Abrams (1985) and in art journals (Marg, ART Asia Pacific, Asian Art News, Flash Art, Art in America, ART India, FOTOart etc.), museums/auctions/galleries catalogues and on the web, keyword: Vinod Dave

TEACHING:
• Had been on experts’ panels at: Asia Society, 1984 and Asian American Arts Center, 1998. Given visiting lectures at: National Institute of Design, Ahmedabad, 1979; and School of Visual Arts, New York, 1993.
• Directed Hindu Heritage Camps at the Yoga Retreat in Stroudsburg, 1986 to 1991. Taught studio art, esthetics and art history.
• Professor of Art at C. N. College of Fine Arts, India, 1977 to 1982. Taught college level studio art and art history and developed curriculum.
• Directed art workshops of Gujarat State Lalit Kala Akademi of Art, I 1978 to 1981.

AUCTIONS:
• My works have been auctioned annually by: Sotheby’s and Christie’s, CRY Foundation, South Asia Against AIDS Foundation and Pakistani Literacy Fund for charitable fundraising purposes.

RESEARCH:
• Wrote two masters’ theses: 1) Visions of the Essence (1984) and 2) Surrealistic and Expressionistic Tendencies in Contemporary Indian Art (1976).

LINKS:
http://www.artbeyondsight.org
http://www.artswithoutborders.com
http://www.visionsarts.com
http://www.sumukha.com
http://www.phototrends.net
http://www.oil-and-canvas.com
http://www.indianartcircle.com
http://www.pem.org
http://www.artsindia.com
http://www.number1artist.com
http://www.newnudemag.com
http://www.jalsaghar.com
http://www.artprice.com
http://www.anothersubcontinent.com
http://www.kalafineart.com
http://www.723.com
http://www.artandchocolate.blogspot.com
http://www.indianartnews.com
http://www.thisishowitshouldbe.blogspot.com
http://www.VinodDave.blogspot.com
Or just google Vinod Dave for more information.

Below is an article written by Daniel A. Herwitz
(Director of Institute of Humanities, University of Michigan) on Vinod Dave\\\'s recent art works:

Vinod Dave is a poet of amalgamation. In his early works of photographic mixed media from the 1980s Dave began with images from mass and popular culture and blew them up beyond their pictorial values into over-modulated intensities, then painted onto them birds and people of immense delicacy, producing realms where public and private life furiously---yet poetically—intersected. The banal beauties of calendar art found themselves printed onto canvas then etched in a gouache resonant with mauve gardens and pale blue temple portals. Old photos from the British Raj were plastered with multi-colored Rajasthani peacocks and language from pre-independence newspapers. The effect was to bring the runes of the past into the explosive politics and kitsched quotidians of the present, generating a poetry of mysterious derangement. From sources in Rauschenberg, Pop Art and Surrealism, also in temple architecture and Rajput painting, Dave created an empire of imagery straining the bounds of human rationality, in which anxiety and pleasure, social reality and human privacy, disorder and rearrangement became inseparable twins, jolting the brain and soothing the imagination.
His art has come a long distance in these twenty five years, and yet the central contours of his world and work have remained of a piece with those earlier days. Dave’s images still explode with a history situated on the far shores of human rationality; his pictures still place power in collusion with patina. These layerings and juxtapositions have become all the more intricate, and frightening, since 911, which is the subject of Dave’s current exhibition. 911 is something he felt viscerally as a New Yorker, but also as an Indian citizen grown up on the vast legacies of Hindu-Muslim conflict. Ironically the vastness of the subject has spiraled Dave into things smaller: a series of mixed media works done in miniature size, the size of an ordinary color photograph on the family mantle, that of a Rajput painting. This shrinking of range is the occasion for an expansion of domain: into a world torn apart by fundamentalism, recalcitrance, hatred, violence. And yet the violence appears more quietly. Dave’s pictures are closer than ever to the Indian miniature framework in their use of ornamental border and washes of color. In them figures float in boundless space, or travel courtesy of that jet propelled god who never crashed into the World Trade Towers, the Vishnu-Garud. The quiet timelessness of the miniature subdues the iron-wrought intensities of the statement in these tiny but jam packed works, by bathing the violence in layers of poetic gouache. This build up of patina is overwritten in Arabic script, a writing as elegant as Urdu poetry. In Dave’s aesthetic procedure the present is placed in a larger, oceanic past, raising the question of its emergence. How did things take the current turn? What of the old cultures, were they the same? How can lovely men reciting poems to one another while drinking mint tea have arrived at this? What is the difference between a religious incarnation/avatar and a violently derailed airplane? What happens to cultures when they collide like vessels in the air? In these pictures everything is raised and nothing answered. As always, frames are contained within images, and those within other frames, suggesting displacement, appropriation, incandescence. In Dave’s work, big ideas come in little packages.
-Daniel A. Herwitz (Director of Institute of Humanities, University of Michigan)

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