He journeyed to the USSR, Yugoslavia, England and Italy. A man labelled Bhupen Khakhar branded as painter. We can only hope that the particular subjectivities of a whole host of other artists from across the globe will continue to be celebrated and that their work will fill the halls of the same institutions that have denied their parity with colleagues out West. But there’s no attempt to expand on this for the non-Indian viewer. “You Can’t Please All” is an ode to a much-loved man, whose art signals an incredible world of possibilities for visual culture in a young republic. “Bhupen Khakhar’s “Pop” in India, 1970-72.” The Art Journal 71.2 (2012): 44-61. Of particular note is the way in which the exhibition succeeds in mining the relationship Khakhar had with England: a fraught set of connections in the postcolonial era. At the Tate which is an institution in its own right extremely exlcusive in its choice of artists and exhibitions how did Bhupen Khakar become the Indian artist who is … Bhupen Khakhar (1934-2003) was born in Bombay, studied economics and qualified as a chartered accountant. He is best known for his pictures of everyday life in India which owe much to the British figurative artists, RB Kitaj and David Hockney. In “Gallery of Rogues” (1993), independently framed panels are arranged together in constellation of plebeian faces: lovers from all corners of Baroda who have been the object of Khakhar’s doting admiration. This turn was marked most notably in the impressive V. S. Gaitonde retrospective at the Guggenheim New York in 2016, alongside this year’s dedications to Nasreen Mohammedi at the new Met Breuer and to Bhupen Khakhar at the Tate. His father was an engineer, and he died when Khakhar was still a child. Print. His career change was partly thanks to meeting the poet and painter Ghulam Mohammed Sheikh in 1958. Print. Zitzewitz, Karin. At the time, I was only thoroughly familiar with the first generation of modernists emerging at the wake of the Indian republic — such stalwarts as MF Husain, SH Raza, and FN Souza — whose palettes tended towards the muted and somber. Explore the extraordinary paintings of this key figure in modern Indian art. The Tate’s intervention has canonized Khakhar as an essential figure in the story of South Asian modernism, while also asserting the entire movement as a viable category for deep curatorial research in leading contemporary art museums worldwide. London: Tate Gallery, 1982. The painter, Bhupen Khakhar… paints the overtly homosexual Two Men in Benares. He was awarded a CSW Travel Grant in 2017. Bhupen Khakhar is an Indian artist who is best known for his paintings, but also experimented with installations, glass-painting, ceramics and writing. He would care for these frail men intensely, looking after their wellbeing and often their medical expenses. Oakland: U of California, 2015. As a result, single artists are getting loving attention from curators in landmark retrospectives, certifying them as worthy of a place in an expanded canon. Khakhar painted life in the Indian “beta” city, overshadowed by their large metropolitan counterparts, capturing its grit and glory in equal measure. His ‘late style’ is informed by the way sickness ravages and limits the body, most notably seen in “Bullet Shot in the Stomach” (2001), a somber painting in which entrails spill from a man’s midriff after being assailed by a gun. This landmark exhibition showcases vivid works on canvas, luminous watercolour paintings and experimental ceramics. Husain, K.G. “Paan Shop for People: Bhupen Khakhar (1934-2003).” Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990. Bobby Friction: The sound of Bhupen Khakhar. This room takes its title from the 1999 painting in which Khakhar boldly painted the agony he suffered during cancer treatment. (167.6 x 140 cm.) It took a second for my eyes to focus; to realize that the figures that emerged in his narrative paintings were indeed men: men who came together in various salacious acts of sexual union. The sardonic tone in these images stems from his general displeasure at London’s supposed glumness, reflected in paintings such as “Man in Pub” (1979). The story recounts the tale of the pair leading a donkey to the market in order to sell it, while receiving innumerable pieces of advice from passers-by along the way, each suggesting a different configuration for easy and efficacious travel. It was clear that time passed on by, but love for Bhupen remained as ardent as ever. Shop now. Those close to him have commented on the intense relationships he developed with men in Baroda: invariably older than Khakhar and of lower social status. Kapur, Geeta. Six Indian Painters: Rabindranath Tagore, Jamini Roy, Amrita Sher-Gil, M.F. The works in this room trace Khakhar’s self-directed development, from early experiments with collage to finely detailed oil paintings. It was after his time in London that the artist decided to be more forthright in his sexual identifications, and this was partially linked to the more progressive stance he saw the English taking towards sexuality. [4] These relationships featured heavily in his work. While the exhibition tells us that Khakhar, an admirer of Ghandi, began painting everyday Indian life for essentially political reasons, we have to go to the catalogue to find out that he was associated with a band of artists, the Baroda Group, that looked to indigenous subjects in rebellion against the more mainstream modernism of India’s dominant art movement, the so-called Progressives. Purchased 1996 © Estate of Bhupen Khakhar About the artist A key figure in 20th century painting, Bhupen Khakhar’s pictures depict the world with unflinching honesty and deep humanity. [2] Nada Raza, “A Man Labelled Bhupen Khakhar Branded as Painter.” Dercon, Chris, and Nada Raza, eds. The magenta-pink surface of a factory yard hits an emerald green street in Factory Strike; brilliant vermilion-red railings vibrate against a deep azure sea in Man Eating Jalebi. A group of large blurry paintings created while he had cataracts give way to luminous watercolours and a whole room of paintings on sexual themes, from the realistic – scenes of orgy-like, all-male parties – to the visionary: in one painting, an aged king and his son, transformed into an angel, appear to be making love. It draws you in not only through the sheer liveliness of the work, but because Khakhar’s artistic impulses weren’t at heart intellectual or political, but personal and emotional. 168-213. 175.6 x 175.6 cm. His sexuality, which has been such a critical topic of conversation, is not simply presented for consumption but reflexively considered as a polemical anti-colonial gesture. “Paan Shop for People: Bhupen Khakhar (1934-2003).” Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990. There's no mistaking those elephant ears, the shock of white hair as anyone else's. While we don’t want to be overwhelmed with contextual information, too much about Khakhar’s complex cultural background is left vague. Despite having been qualified as a chartered accountant before moving to Baroda in 1962, he joined the Art Criticism course at the Faculty of Fine Arts where he started painting and became involved with the seminal Narrative- Figurative movement. For his friends and colleagues who have outlived him, he is a warm memory that continues to inspire — to be found in their art, their writings, and their wistful conversations. “The Uncommon Universe of Bhupen Khakhar.” Pop Art and Vernacular Cultures. The past 10 years have shaken up our view of art from outside the Western mainstream. Yet you won’t spend long in front of these beguiling images before you start wondering how much in them is naïve, how much is pseudo-naïve and how much is making a sophisticated play with our expectations of Indian art. After meeting the painter Gulam Mohammed Sheikh in 1958, he became interested in … He was a member of the Baroda Group and gained international recognition for his work. W ithin his career and thereafter, Bhupen Khakhar has received the most international and highly regarded institutional attention of any Indian artist. We should read Jonathan Jones’ review in The Guardian of Bhupen Khakhar’s retrospective at the Tate Modern as an expected irritant – he (still) writes like a provincial Englishman. He holds a BA from Williams College in Comparative Literature and Art History. [13] The body is no longer a site of sex and love, and more so a place of decay. The treatment of foliage and flowers in Man Leaving (Going Abroad) appears lifted from Rousseau in a highly knowing way. The graphic directness of Khakhar’s treatment, and his apparent lack of self-pity, are remarkable. Your email address will not be published. We’re left wondering if his use of mythological imagery – the monkey god Hanuman makes an appearance alongside a man with five penises – is intended to be satirical, fantastical, sincerely spiritual or simply funny. This is no small part of Khakhar’s legacy: his defiant embrace of men loving men, in both allegorical and earthly realms. Wanting desperately to travel, Khakhar left India for the first time only in 1976. Biography A self-taught artist, Bhupen Khakhar was born in Bombay on the 10th of March 1934. By this time, there had been two retrospectives of Khakhar’s work, one shortly after his death at the National Gallery of Art in Mumbai, and another mounted at the Reina Sofia in Madrid the previous year. The face of the older man, though masked by the dark, urgent profile of the younger is recognisably Khakhar's. 66 x 55 ⅛ in. Towards the latter end of his life, Khakhar’s interest in the male body took a turn for the grotesque. Kapur, Geeta. Print. The exhibition, “You Can’t Please All”, opened earlier this year. Mumbai: Mapin Pub., 1998. Khakhar’s colors, by contrast, rose to the surface of the page with an electric charge. Tickets: 020 7887 8888; tate.org.uk. Bhupen Khakhar is on show at Tate Modern from June 1st to September 6th. This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License. Bhupen Khakhar was born in 1934 to a Gujarati family in Bombay. The Tate’s capacious approach allows a public still largely unfamiliar with the many artistic revolutions that have taken place outside of the narrow scope of the Euro-American tradition a window into one such visionary oeuvre. Born in Mumbai in 1934, Khakhar worked as a factory accountant in the provincial city of Baroda, painting only in his spare time, bringing to mind a kind of Indian LS Lowry, and also the great French primitivist Henri Rousseau – a parallel that appears far from accidental. Comprising 91 works from across five decades, this is the first international retrospective of the work of Bhupen Khakhar (1934-2003) since his death and, according to incoming Tate Modern director Frances Morris, it is “part of the spirit of the bigger international story that the new Tate Modern [to be opened to the public on 17 June after its £260m extension] is dedicated to”. Prior to his arrival in Los Angeles, Sayantan worked in commercial galleries in New York and New Delhi and in the education sector in Shanghai. [13] Geeta Kapur, “Mortality Morbidity Masquerade,” Dercon, Chris, and Nada Raza, eds. The moral of the story is that despite how much one may try, it is impossible to please everyone. He was diagnosed with prostate cancer in 1998, and lost his battle against the disease in 2003. Mumbai: Gallery Chemould, 2005. Tate Modern; Exhibitions; Bhupen Khakhar; Feature . 3 October 2016 . Yet for all these qualms, this is a rich and absorbing exhibition. Khakhar was an autodidact and worked diligently throughout his life despite an absence of any formal training. Renowned for his unique figurative style and incisive observations of class and sexuality, Bhupen Khakhar (1934-2003) played a central role in modern Indian art and was a key international figure in 20th century painting. Sheikh encouraged Khakhar to attend Faculty of Fine Arts in Baroda and intro… Bearing a TATE exhibition label on reverse along with another label with cataloguing details and exhibition history in India from the 1990s. [7] Khullar, Sonal. From Rio to Beirut to Mumbai, it seems, Western abstraction and conceptual art have been the dominant influences for a good half century. Khakhar graces the walls of the Tate with his characteristic irreverence and quirkiness: his colors are brilliant; his men playful. The texture and sheen of oil paint is disturbingly evocative of fetid flesh and reveals an inner struggle that Khakhar was tormented with in his last years. Scholars have tended to categorize Khakhar’s art with three periodized divisions of his biography, beginning with the earliest period after his relocation to Baroda. [8] Khakhar’s paintings took this imperial motive and redeployed it for his own inquiries into the lives of his fellow countrymen — the everyday people who would become his muses in both life and art until the end. Thus, the irony of London as the home to the most important retrospective of Khakhar’s work is subtly addressed with great humor and poise. Subramanyan, Bhupen Khakhar. Bhupen Khakhar, however, gives us modern Indian art as the romantically inclined Westerner would like to imagine it: magic realist images of small-town life in vibrantly intense colours, painted with a quirky disregard for Western conventions of space and composition. But his most important and comprehensive expose was arguably the current show mounted at the Tate Modern, titled after his seminal painting “You Can’t Please All” (1981). His first foray abroad took him to the USSR, Yugoslavia, Italy, and most importantly, England, a country with which Khakhar started to develop an interesting relationship. He holds a pair of driving gloves near his crotch: the fingers bunching into a bouquet of phalluses. [2] From then onwards, male sexuality became a focal trope in his work. Can I go to a museum? The Tate’s decision to celebrate his abbreviated life reveals not simply a desire to shine light on alternative modernisms that flourished internationally in the 20th century, but ones that also worked against the grain of prevailing conservative values within a given region. Hyman, Timothy, and Bhupen Khakhar. Why Arthur Conan Doyle’s favourite character wasn’t the ‘consulting detective’, From Ravilious to Rothko: how looking at paintings can lift our spirits. Bhupen Khakhar (also spelled Bhupen Khakkar, born Bombay 10 March 1934 – died Baroda 8 August 2003) Bhupen Khakhar was a leading artist in Indian contemporary art. 158-165. Khakhar, speaking about the painting, has said that if indeed one cannot please all, one should please themselves. [3] This was the everyman that appeared and reappeared in his paintings: the tea shop owner, the zoo keeper, the average city dweller. The works presented by curator Nada Raza offered poetic snapshots of different artistic investments over the course of Khakhar’s life. The latest offers and discount codes from popular brands on Telegraph Voucher Codes, Bhupen Khakhar's You Can't Please All (1981), the painting that gives Tate's new show its name, Janata Watch Repairing (1972) by Bhupen Khakhar, Man Leaving (Going Abroad) by Bhupen Khakhar (1970), Dealing death: Leonora Carrington, tarot cards and a very British surrealist obsession, Raphael’s cartoons never looked as beautiful as this, Champagne with Bacon: at the bar with a giant of British art, Skin hunger: why touch has never been more important in our socially-distanced times, The art of insurrection: what the US Capitol’s paintings tell us about the pro-Trump mob, 'No doorkeepers, no officers' – how Henry James pointed out the US Capitol's weak spots 140 years ago, Ariel Pink and John Maus: the indie pop stars facing backlash for protesting at Capital Hill, The surprising slice of Italy in southeast London, Annie Freud on writing and her warring parents: 'When you’re a kid, you're the tool, you’re the pawn', The architecture of the US Capitol is a paean to rational order – the riots were a desecration, ‘We’ve turned children into nurses’: the tragic closure of the Florence Nightingale Museum. “The View from a Teashop.” Contemporary Indian Artists. Filmed in Baroda, Messages From Bhupen Khakhar 1983 is an intimate profile of the artist speaking about many of the works in the exhibition. In many ways, Khakhar’s life’s work represents vanguard radicality that responded to an artistic climate that was aggressively androcentric and heteronormative. The textures of daily life in India — particularly the cheap reproductions of Hindu idols, seen pasted on walls of roadside temples — made appearances in pastiche collages. “Bhupen Khakhar’s “Pop” in India, 1970-72.” The Art Journal 71.2 (2012): 44-61. London: Tate Publications, 2016. As a coda to an oeuvre that celebrated the ecstasies of desire, it is a sad capitulation in terms of content, but resplendent as ever in style. 149-77. Oil on printed cloth with a cushion backing laid on board. Khakhar’s more humble subjects, the local barber, watchmaker and tailor, were thus beatified in these sensitive and observant portraits. Tate Museum, London. Channel Islands). Dercon, Chris, and Nada Raza, eds. Signed and dated in Gujarati lower right. [7] European travelers to the subcontinent would hire artists to portray daily life, with the intention of bringing these images back to England to show fellow countrymen. Print. 162. Cambridge, MA: MIT, 2007. He would make two subsequent trips to England and in turn host his British friends in India. International painting is at the center of this year’s Tate program: Georgia O’Keeffe, Francis Bacon, Maria Lassnig, and Robert Rauschenberg are being honored with major exhibitions. 168-213. India's most famous Modernist arrives at the Tate Modern – with mixed results Following a trip to London, the late Indian artist Bhupen Khakhar observed that: “You are not allowed to smile during the winter season which lasts for ten months of the year. This to open just weeks after an curated by art critic and Khakhar’s dear friend, Geeta Kapur, that paid tribute to the late artist by way of the theme of death. We urge you to turn off your ad blocker for The Telegraph website so that you can continue to access our quality content in the future. Tate Museum, London. Kids Membership Join as a Member Give a gift membership Join Tate Collective Donate Tate Etc. His current research interests include histories of display and queer identities in modern South Asia. He worked as a chartered accountant for many years before becoming an artist. My friend showed me the only monograph of Khakhar’s work produced to date, lovingly compiled by artist Timothy Hyman in 1998. Bhupen Khakhar and the New Tate Modern. Bhupen Khakhar. As a land grant institution, UCLA acknowledges the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (Los Angeles basin, So. What made the recent record-breaking years in the art market the most exciting ever? Ultimately, they choose to carry the donkey, so as not to tire it out before it was put up for sale, but the donkey falls after a misstep and dies from the injury. Yet while we are told that he drew on external elements from Sienese religious frescoes to Western Pop Art and Bollywood, alongside various forms of traditional Indian art, we are shown only early work – a Pop-influenced painting from 1965. Kobena Mercer. Thirteen years have passed since artist Bhupen Khakhar’s death, but his admirers are countless and vocal. 153. 13-25. As his own relationship to corporality shifted in response to his battle with cancer, so did his approach to it in its painted form. Towards the end of this “early period”, Khakhar also painted comical scenes from his own time in England, drawing on his travels — an ironic postcolonial reversal, in a sense, of the colonial documentation embodied by Company Painting. Bhupen Khakhar. Web. The Bhupen Khakhar retrospective “You Can’t Please All” opened on 1 June 2016 at the Tate Modern, supported by the Kiran Nadar Museum of Art, and runs until 6 November 2016 as part of an ongoing partnership between the London museum and Berlin’s Deutsche Bank Kunsthalle, where it will travel to next. So it’s difficult to pick apart these influences or understand how he evolved his characteristic style. It was after his stint in London that Khakhar started speaking openly about his sexuality, reflecting on how sexually liberated people seemed to be in the old metropole. Enjoy your stay :). The subjects are oftentimes Khakhar’s own lovers, who tended to emerge from lower socioeconomic classes. Several times over, it has been cited as a ‘coming out’[9] — a declarative announcement of a gay identity that Khakhar claimed and opened up for discussion by way of this image. Tate exhibition label on reverse along with another label with cataloguing details and exhibition History in India, ”. 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