Meera Menezes

  • Mrinalini Mukherjee, Palmscape IX, 2015, bronze, 62 x 110 x 24”.
    picks February 20, 2015

    Mrinalini Mukherjee

    This retrospective brings together over ninety works created by Mrinalini Mukherjee in hemp, ceramics, and bronze over the past four decades. Curated by Peter Nagy, it comes on the heels of her untimely demise on February 2, shortly after the show opened.

    Mukherjee forged for herself a distinctive artistic vocabulary, and her “goddesses,” for which she is well known, are literally tied up in knots. Fashioned out of twisted hemp rope, these totemic creatures appear grotesque yet magnificent, powerful yet benign. Similarly, her fiber pieces Pakshi, 1985; Devi, 1982; and Vanshree, 1994, are reminiscent

  • Anju Dodiya, Red Ascent, 2014, watercolor, charcoal, and soft pastel on paper, 72 x 45”.
    picks January 30, 2015

    Anju Dodiya

    “Dying / Is an art, like everything else. / I do it exceptionally well,” wrote Sylvia Plath in “Lady Lazarus.” So it hardly comes as a surprise that Anju Dodiya, a self-professed Plath fan, explores death and its relationship to art in her exhibition titled “Imagined Immortals.” In a series of mixed media works on paper, all executed in 2014, she uses collage as a device to investigate the fragile nature of the human body, creating quirky juxtapositions in the process.

    Pages from medical books with detailed anatomical drawings serve as the basis for collages, as inAphrodite and Concave/Convex.

  • Anita Dube, _Phantoms of Liberty, 2006–2007, mixed media, dimensions variable.
    picks January 02, 2015

    Anita Dube

    Danger lurks in the unlikeliest of places in Anita Dube’s Phantoms of Liberty, 2006–2007. While a gun pokes nonchalantly out of a refrigerator, a meat cleaver is stuck in an oven, and the box bed opens to reveal the dismembered remains of a woman. Covered in the same greenish-brown camouflage material as the other household objects nearby, these ominous elements are often difficult to discern. A nod to Surrealist artist Luis Buñuel’s similarly titled 1974 film, the installation is an uneasy reminder of the violence that can underscore scenes of apparent domestic harmony.

    Aptly titled “Yours

  • Atul Bhalla, Contestation—I, 2013, archival pigment print, 36“ x 54”.
    picks December 08, 2014

    Atul Bhalla

    It is more like a plunge than a slow immersion: Entering Atul Bhalla’s solo show “Ya ki kuchh aur!” (It’s Always About Something Else!), one feels immediately surrounded by water—thanks to Bhalla’s three-channel video installation Adrift (on Dvaipayana), 2014. As the Ganges’s water reflects pink-hued evening light, an unmanned boat glides across the three screens. Then suddenly, inexplicably, it bursts into flames, a burning fireball on dark waters.

    In this show, Bhalla deepens his investigations into two major strands of his artistic practice: water and walking. The former fascinates Bhalla,