M.F. Husain’s tapestry, opposite the Pavilion at ITC Maurya in Delhi, demands your attention like nothing else. It sets you thinking about Indian airport T3 where artists have been asked to create works, and you wonder how can India’s airport be complete without the magnificent Husain? How can the airport have so many works that mean nothing more than paint and subject?

It will be a one-day unveiling at the Oberoi hotel in New Delhi on August 19 as Nina Pillai, curator (Triveda Fine Arts) and collector, launches a heady artist called Aslam Shaikh.

Imagine a gallery morphing into an “animal farm” and presenting a visual exploration of a dazzling newness even by setting standards of neo-realism sought to adapt from a new manner of painting from n

Fully acknowledged for the first time for her contribution to American art when her work appeared at the Drawing Centre and the Whitney Biennial in 1997, Shahzia Sikander has consistently and intentio

If a show of emerging artists could be impulsive, vivid, created with a quick, sure, intense touch, Gallery Espace’s “Going, Going, Gone” has the spontaneity, the emotional honesty, the immediacy, the

Picture this: Years ago, after an evening of classical Indian music at the house of the French cultural attaché Vincent Grimaud, Anjolie Ela Menon picked up her brush.

Tucked away at the ITC Maurya’s Towers is a triptych that is an evocation of the grand procession of Ashoka. It has a schema, an argument and an armature.

Drawing is one of the most fundamental forms of artistic expression.

“Subrata to Cesar is about the distance between the two goalkeepers. It is about the distance between the state of Indian football and what football is to a country like Brazil,” says artist Riyas Komu about a historic solo show which opened at Maskara Gallery in Mumbai last week.

The Saffronart auction, and Christie’s and Sotheby’s in London, seem to have brought back the sparkle in the art world.