R. Siva Kumar

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R. Siva Kumar
Contextual Modernism
SpouseMini Sivakumar
ChildrenSiddharth Sivakumar (Son)

Raman Siva Kumar (born 3 December 1956), known as R. Siva Kumar, is an Indian contemporary

The Dictionary of Art, Oxford University Press.[2][3]
[4][5]

He was awarded the Kesari puraskaram for art writing by the

Ghulam Mohammed Sheikh), K. G. Subramanyan
. He also has co-curated an exhibition titled "Tryst with Destiny" for the Singapore Art Museum to mark the 50 years of Indian Independence and served as a curatorial adviser for Rhythms of India: The Art of Nandalal Bose curated by Sonia Rhie Quintanilla for the San Diego Museum of Art.

Early life and education

R. Siva Kumar was born in

Kala Bhavan and completed his MFA in history of art
.

Career

Since 1981, Professor Siva Kumar, who is often considered to be "the most erudite and self-effacing art historian"

National Visual Arts Gallery, Kuala Lumpur; McMichael Canadian Art Collection, Ontario; and National Gallery of Modern Art, Delhi
.

In a review of

Santiniketan crop of painters. This is the crowning achievement in this hard-working and self-effacing scholar's career."[10]

For the

Cambridge Journals, W. Andrew Robinson
wrote, "The unparalleled quality of the volumes' reproductions, made from new scans of the original works kept in
Santiniketan
, in New Delhi and elsewhere, and printed by India's leading art printer, Pragati Offset, based in Hyderabad, is thrillingly good. Rabindra Chitravali: Paintings of Rabindranath Tagore is surely one of the finest art books to have been produced in India.[11]

Closely associated with the critical traditions of the

Abanindranath.'[12]

In 2013 he was awarded by the Paschimbanga Bangla Akademi for his book Ram Kinkar Baij – A Retrospective.

R. Siva Kumar also received a special award from the University of Dhaka for his contribution to the Indian art scene.[13][14]

Contextual Modernism

In

Ram Kinker Baij and Benode Behari Mukherjee.[15]

The brief survey of the individual works of the core Santiniketan artists and the thought perspectives they open up makes clear that though there were various contact points in the work they were not bound by a continuity of style but buy a community of ideas. Which they not only shared but also interpreted and carried forward. Thus they do not represent a school but a movement.

— Santiniketan: The Making of a Contextual Modernism, 1997

Several terms including

Tani Barlow's Colonial modernity have been used to describe the kind of alternative modernity that emerged in non-European contexts. Professor Gall argues that ‘Contextual Modernism’ is a more suited term because “the colonial in colonial modernity does not accommodate the refusal of many in colonized situations to internalize inferiority. Santiniketan’s artist teachers’ refusal of subordination incorporated a counter vision of modernity, which sought to correct the racial and cultural essentialism that drove and characterized imperial Western modernity and modernism. Those European modernities, projected through a triumphant British colonial power, provoked nationalist responses, equally problematic when they incorporated similar essentialisms.”[16]

Role in preventing Tagore fakes

R. Siva Kumar being interviewed by a journalist in Dhaka, 2013

R. Siva Kumar, being an authority on

Tagore
's paintings, curator of his largest Exhibition and the author/editor of the most comprehensive reference work on Rabindranath's paintings has played an important role in preventing Tagore-fakes.

In 2011 the

Government College of Art and Craft in Kolkata, under principal Dipali Bhattacharya, had organised an exhibition of 23 Tagore paintings. And later 20 were found to be fake. Siva Kumar, who had already seen digital images of the paintings and, convinced that they were all fakes, had warned the college principal, Dipali Bhattacharya, against holding the exhibition. But Bhattacharya went ahead with the claim that the paintings were "genuine".[17]

“There’s a great market for

Abanindranath (Tagore), the medium being acrylic and canvas. Acrylic paints were not invented then. They are totally uninformed. The art world should wake up if it wants credibility. Institutions should be more careful. They have a certain responsibility to their heritage and legacy. The academic part of it should be more professional."[19]

In 2014, Siva Kumar called for the formation of an investigation unit to track theft, copies and forgery of art.

Times of India quoted him,"A national-level investigation agency should set up a team of specialists who follow only such cases so that they can see pattern or notice the involvement of same people or part of the same network. One can then consider putting an embargo on galleries and collectors whose names figure in such reports." He also urged that supportive legal measures should also be drafted. Explaining the rise in fakes originating from Bengal, he pointed to the revival of interest in art of early 20th century. "Bengal masters figured prominently in art history. Their works were few in circulation. Hence, when demand went up, it spawned fakes."[20]

Ramkinkar Baij

Ramkinkar Baij: A Retrospective, 1906-1980 is a book by R. Siva Kumar[21] that was brought out on the occasion of a massive retrospective exhibition of Ramkinkar Baij at the National Gallery of Modern Art.

The exhibition was curated by K.S. Radhakrishnan[22] and the book was brought out in collaboration with the Delhi Art Gallery. The book presents entire body of Ramkinkar's sketches, watercolours, etchings, oils and sculptures, together with many invaluable period photographs. This is considered to be the authoritative volume on the “prolific master”.[23]

Drawing distinction between Benode Behari Mukherjee and Ramkinkar Baij, Siva Kumar notes, "If his friend and colleague Binodebihari painted the starker side of Santiniketan landscape, and saw himself as a lonely palm tree in the middle of the barren and parched Khoai, Ramkinkar saw himself as the Palash in full bloom: No leaves, bare branches, fully ablaze".[24]

In 2013 R. Siva Kumar was granted an award by the Paschimbanga Bangla Akademi for this book.[citation needed]

Memberships and associations

Awards and recognitions

Curated exhibitions

Major publications

Selected articles

See also

References

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    .
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External links
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