Arpita Singh

Arpita Singh (born Arpita Dutta, 1937) is an Indian artist. She was born in 1937 at Baranagar in Kolkata, West Bengal, India).[1] Known to be a figurative artist and a modernist, her canvases have both a story line and a carnival of images arranged in a curiously subversive manner. Her artistic approach can be described as an expedition without destination. Her work reflects her background.[2] She brings her inner vision of emotions to the art inspired by her own background and what she sees around the society that mainly affects women. Her works also include traditional Indian art forms and aesthetics, like miniaturist painting and different forms of folk art, employing them in her work regularly.[3]

Arpita Singh
Born1937  (age 83)

Personal life

Arpita left Kolkata with her mother and brother in 1946, a year before India got its independence from the British rule. In 1962, she married fellow artist Paramjit Singh and they have a daughter, artist Anjum Singh. Currently she lives in Nizamuddin East, New Delhi.

Education

Arpita attended the Delhi Polytechnic in New Delhi from 1954–59 and graduated with a Diploma in Fine Arts.[4]

Career

After her graduation, Arpita Singh worked at the Weavers Service Centre, Ministry of Textiles, Government of India in New Delhi and experienced the textiles industry closely. Her stint as a textile designer reflects in her work. The Talwar Gallery showcased her works in their first ever exhibition, 'Tying Down', dedicated to Arpita Singh in 2017.[5]

She took on a job with the Cottage Industries Restoration Program, a body of the Government of India. While she worked in the program, she met traditional artists and weavers of India. This is said to have impacted her artwork too.

Arpita Singh has significant contributions through a different social and political awareness. She was a founder member of the artists' group 'The Unknown', along with other alumni of the Department of Fine Arts of Delhi Polytechnic in the 1960s. The first group show of 'The Unknown' was held at IENS Building (now INS Building[6]) at Rafi Marg, New Delhi in 1962.[7]

First Exhibition

Arpita Singh's first exhibition was held at Kunika Chemould Gallery, organised by Roshan Alkazi, New Delhi in 1972.[7]

Exhibitions Thereafter

Post 1972, Arpita Singh extensively showed her work at Royal Academy of Arts at London (1982), the Centre Georges Pompiduo, Paris (1986), show in Geneva (1987) and at the Art Gallery of New South Wales Sydney (1993).[3] She has also participated in the 3rd and 4th Trienniale of New Delhi & at the Havana Biennial in 1987 and the Indo-Greek Cultural Exhibition, in Greece, 1984.[8][9]

More recently, her works have been exhibited at ‘Modern and Contemporary Indian Art’ at Vadehra Art Gallery, New Delhi, 2006; 'Progressive to Altermodern: 62 Years of Indian Modern Art' at Grosvenor Gallery, London, 2009; 'Kalpana: Figurative Art in India' presented by the Indian Council for Cultural Relations (ICCR) at Aicon Gallery, London, 2009; 'The Root of Everything' at Gallery Mementos, Bangalore, 2009.[10]

Her recent and select solo exhibitions include Work on Paper at Vadehra Art Gallery, 2016.[3]

Style

Arpita Singh's early paintings were mainly water colors on paper. She would paint usually in black and white ink.[11]

By the 80s, she started to paint Bengali folk paintings with women as the focus. She would use vibrant colors in a rather restrained way and her palette is usually dominated by pinks and blues.[3] Her paintings would show women doing daily work and following simple routines in their lives.[1] Arpita would draw daily use objects like trees, flowers, flower vases, animals, teapots, pillows, festoons and flags, and show women surrounded by them. Child Bride with Swan (1985) and Girl Smoking Cigarette (1985) are examples of her protagonists, leading uncomplicated lives.[4]

In the 90s, Arpita's style of painting shifted to oil on canvas, but she continued to paint women-centric art. A lot of women emotions started to become evident in her paintings - Joy, sorrow, hope, and many more. She painted a series of paintings on the subject "Women with a Girl Child" in the last decade of 20th century.[7] Arpita would showcase the problems like hatred, social injustice, etc. faced by a contemporary woman in her art. She would also paint around the ills related to girl child in India. In some of her paintings the women appear nude, but her paintings do not have sexual overtones and reflect the woman's vulnerability.[4]

Arpita's paintings spoke a lot about wars and situation of turmoil at the national and international level. She would draw objects like guns, knives, cars and planes, soldiers, killers and corpses. India's former Prime Minister Indira Gandhi's assassination, the anti-Sikh riots of 1984, communal riots and the Gulf War are some examples. Women would continue to find the center stage in her art and are shown at the receiving end. The White Chair (1983), The series on Ayesha Kidwai, Durga (1993), My Mother (1993) and A Dead Man on the Street: is It You, Krishna (1994) are some of her paintings echoing this mood.

Awards

Arpita Singh has exhibited all over the world, at both individual and group exhibits. She has also won a number of awards for her work.[12] Those include:

2014: Fellowship of Lalit Kala Akademi[13] 2011: Padma Bhushan 1998-1999: Kalidas Samman, Bhopal[9] 1991: Parishad Samman, Sahitya Kala Parishad, New Delhi[12]

Exhibitions

Arpita Singh has more than twenty solo shows to her credit including several in Chandigarh, Bhopal, Mumbai and New Delhi.[3] They include:

2019
Submergence: In the midst of here and there, at KNMA, Saket, Delhi[14]
2018
Tying down time II, Talwar Gallery, New York
2017
Tying down time, Talwar Gallery, New York[15]
2006
Picture Postcard 2003 – 2006, Vadehra Art Gallery, New Delhi [3]
2003
Memory Jars, Bose Pacia Modern, New York [3]
1994
Drawing 94, Gallery Espace, New Delhi[3]

Publications

2018: Arpita Singh: Tying down time, Talwar Gallery [16]

gollark: be able to last a bit without work.
gollark: I feel like if you "make nearly 6 figures" you should have savings and bea ble t
gollark: https://xkcd.com/2278/
gollark: Yes, that's pretty bad.
gollark: I'm okay with the social distancing stuff as long as they do not do it forever or pretend they can, and as long as most relevant law stuff is rolled back after the whole COVID-19 situation is over.

References
  1. Contemporary Women Artists. St.James Press, 1999.
  2. Collection Highlights. Kiran Nadar Museum of Art. ISBN 978-81-928037-6-0.
  3. "Arpita Singh". Vadehra Art Gallery. Archived from the original on 2018-03-03. Retrieved 2018-03-03.
  4. "Mojarto Profiles Artist - Arpita Singh". www.mojarto.com. Retrieved 2019-02-02.
  5. "Press Release – Tying down time « TALWAR GALLERY". Retrieved 2019-02-02.
  6. Baruah, Amit (2016-09-11). "Meeting deadlines to beat the eclipse". The Hindu. ISSN 0971-751X. Retrieved 2019-02-02.
  7. "The Personal Space of Woman: Paintings of Arpita Singh" (PDF).
  8. Collection Highlights. Kiran Nadar Museum of Art.
  9. "Arpita Singh". Talwar Gallery. Retrieved 2018-03-30.
  10. "Arpita Singh". Archived from the original on 2018-03-03.
  11. Milford-Lutzker, Mary-Ann, "Intersections: Urban and Village Art in India", jstor.org; accessed 6 February 2018.
  12. Arpita Singh profile Archived 2007-12-23 at the Wayback Machine, contemporaryindianart.com; accessed 6 February 2018.
  13. "Between the Poetic And the Visual". OPEN Magazine. Retrieved 2019-03-12.
  14. Datta, Ella. "Arpita Singh: Of stories untold". @businessline. Retrieved 2019-03-12.
  15. "Past Exhibitions « TALWAR GALLERY". Retrieved 2019-03-12.
  16. Datta, Ella: Talwar, Deepak: Singh, Arpita Arpita Singh: Tying down time (1st ed.). Talwar Gallery ISBN 978-81-936663-1-9
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