Quote by Mark Twain



“Art requires time — there’s a reason it’s called a studio practice “

Fernández offers graduates ten practical tips on being an artist that have been helpful on her own creative journey — but they double as an ennobling moral compass for being a decent human being in any walk of life:

  1. Art requires time — there’s a reason it’s called a studio practice. Contrary to popular belief, moving to Bushwick, Brooklyn, this summer does not make you an artist. If in order to do this you have to share a space with five roommates and wait on tables, you will probably not make much art. What worked for me was spending five years building a body of work in a city where it was cheapest for me to live, and that allowed me the precious time and space I needed after grad school.
  2. Learn to write well and get into the habit of systematically applying for every grant you can find. If you don’t get it, keep applying. I lived from grant money for four years when I first graduated.
  3. Nobody reads artist’s statements. Learn to tell an interesting story about your work that people can relate to on a personal level.
  4. Not every project will survive. Purge regularly, destroying is intimately connected to creating. This will save you time.
  5. Edit privately. As much as I believe in stumbling, I also think nobody else needs to watch you do it.
  6. When people say your work is good do two things. First, don’t believe them. Second, ask them, “Why”? If they can convince you of why they think your work is good, accept the compliment. If they can’t convince you (and most people can’t) dismiss it as superficial and recognize that most bad consensus is made by people simply repeating that they “like” something.
  7. Don’t ever feel like you have to give anything up in order to be an artist. I had babies and made art and traveled and still have a million things I’d like to do.
  8. You don’t need a lot of friends or curators or patrons or a huge following, just a few that really believe in you.
  9. Remind yourself to be gracious to everyone, whether they can help you or not. It will draw people to you over and over again and help build trust in professional relationships.
  10. And lastly, when other things in life get tough, when you’re going through family troubles, when you’re heartbroken, when you’re frustrated with money problems, focus on your work. It has saved me through every single difficult thing I have ever had to do, like a scaffolding that goes far beyond any traditional notions of a career.

Read the full article on Brain Pickings

A Journey through Visual History of Indian Modern Art: Day 2- Art History Timeline

Day 2 kicked off to a start by a small exercise to calm everybody down. This was followed by a short exercise where everyone went around the gallery and filled in the timeline they were provided

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After this concluded, the children moved on to describing their favorite artwork and what it meant to them. Per artwork discussions were initiated and the children dwelled into the deeper meaning of the piece and what it made them feel.


“I love this painting because it has many of my favourite things in it. Like a season ball”


“I really love the way it is so small yet has brilliant detail. The way the colours convey different moods appeal to me and the warmth of the 4th painting comforted me.”


“The realism of the painting is what I really like.The way the artist adds subtleties like the clock and medals helps us understand the character of the person shown.”

After the conclusion of this exercise the children sat down to create an artwork with the elements from Day 1’s sketches which they incorporated into a piece that had a story/meaning.

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A Journey through Visual History of Indian Modern Art: Day 1 @ Delhi Art Gallery

This ART1ST workshop revolved around making the children and young adults aware about Indian Art and its various styles and schools.

The workshop began with the children being asked an important question: Who is an artist?

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              “An Artist is an explorer”                                “An Artist is a dreamer”


” An Artist is a creator”

This was followed by the ‘Eye Spy’ game where each participant was given an eye which belonged to a painting among the various present at the gallery. Their job was to navigate through the labyrinth of paintings and find the one which matched the eye they were provided. On finding the right painting, they wrote the name of the artist, the year of conception, name of painting and the school of art it belonged to.

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The children then reconvened back at the meeting point and shared their discoveries and hence the different types of schools were introduced. From all the eyes, a timeline was created that showed the span of different art forms through the years in the country.

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After this the children chose a few favorite artworks and sketched in their notebooks any element from them.

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The day ended with everyone sharing the objects/elements they had picked from the paintings they had liked. It was interesting to hear their reasons for picking it- “It had a cricket ball”, “”I loved the lamps”, “I liked the wings”

Wings…that’s what they gave to their ideas, their thoughts.

Rehaan Kaul (Correspondent for Art1st)

Exhibition walk-through and discussion @ Delhi Art Gallery, Mumbai

On December 7, Art1st MPC and Delhi Art Gallery hosted a collaborative Open Minds session – a walkthrough of the exhibition ‘Retrospective of the Progressive Artists Group’.

On a sunny Saturday morning

As participants trickled in, making way through the by-lanes of Kala Ghoda on a Saturday morning, the ground floor of the gallery started filling up with curious students, teachers and parents of students, and soon bunches of participants got scattered in observing paintings.

It was wonderful for participants to stroll at ease, through the sunlit three-storey gallery, with wooden floor, white windows with pretty grills, and be absorbed in original paintings by the Progressive Artists Group, one should consider fortunate to be able to experience up-close.


Engaging with the paintings

Soon, our moderators Amrita Gupta Singh, Program Director, MPC and Tehezeeb Moitra, Research Associate, DAG began the session, speaking about each painting, moving from one master painter to the other. The moderators spoke of the painting style of the artist, content of the painting, background and nuances of the painters’ life that influenced their paintings, emotional influences on an artists’ work, historical background and analytical remarks on each painting.

The moderators took the participants through works of M. F. Husain, H. A. Gade, S. H. Raza, K. H. Ara, S. K. Bakre, F. N. Souza, Bal Chhabda, V. S. Gaitonde, Krishen Khanna, Tyeb Mehta, Mohan Samant, Akbar Padamsee and Ram Kumar.

For many of the teachers, it was the first time visiting an art gallery. They mentioned that, to begin with, the session simply helped them to understand how to look at a painting, what aspects to consider while analysing and got aware of perceiving an art work.  “I always used to wonder, why I liked certain paintings but never knew how to articulate the reasons for liking them. This session has brought clarity in that aspect”, said one of the participating teachers.


Even unconsciously, any visitor would walk out informed about the Progressive Artists after strolling through the Delhi Art Gallery, Kala Ghoda, which is surrounded by places like Artists’ Centre, Samovar Cafe, Jehangir Gallery, which were ‘adda’ of many of the Progressive Artists in the days.

Presentation and discussion

The walkthrough was followed by a presentation on the fourth floor of the gallery, which has a small sculpture room. Beginning with a few examples from paintings from the early 1900’s, the moderators set base to explain what was happening in the art scene in India before the Progressive Artists’ Group came about. Visual examples realistic paintings by Pestonji Bomanji, Abanindranath Tagore and Raja Ravi Varma led the presentation of the modernists.

Questions of nationalistic purpose of the Progressive Artists Group, Eastness, Japanese traditions, articulation and the artists’ thrust on the need for Indian art to have its own modernity were discussed.

The presentation took the participants through more visuals of each of the artists that they had discussed during the walkthrough, sometimes drawing comparison with European masters, with similar style and subject matter. Quotes from each of the artists added in understanding the artists understanding and intention further.

When asked to react to Souza’s paintings that show distorted heads, one of the participants, a school student, said, “Souza has taken the element of distortion to a level where one cannot just sit and not react. The paintings look ugly, but demand a reaction.”Image


“I will try to be more open-minded and not stick to the classical definition of beauty.”

“The manner in which artworks were analaysed makes me realise that artworks have immense emotional effect on the viewer.”

“I will apply this in my classroom and have an art appreciation session for my students.”

“I want to know much more about Progressive Artists now and will read more books on art.”

“I will step out of the conventional way of giving classes. I will get students to delve into art at personal and shared levels.”

“It was good to visit the gallery and go through these artworks, which we otherwise would not have seen. Usually we have seen contemporary art. I will go to galleries with an open mind now.”

“Freedom of expression is most important.”


Open Minds, DELHI | Indian Art: An overview of the Modern and Contemporary art movements in India @ The Shri Ram School

Open Minds, DELHI | Indian Art: An overview of the Modern and Contemporary art movements in India @ The Shri Ram School

Facilitator- Vidhya Shivadas |Open Minds, DELHI | Indian Art: An overview of the Modern and Contemporary art movements in India | Tuesday the 17th of Decmber @ The Shri Ram School, Vasant Vihar


The Open Minds session on Nov 30 on Visual Thinking Strategies was conducted by Ellie Cross and Louise Conway at Ascend International School. 20 participants among them teachers who teach various subjects at different schools, some parents and some students attended the session.

What do you see in this painting?


The session began with an interactive exercise where all participants shared individual thoughts on a painting in front of them. Take a minute to look at this picture. What do you think is going on in this painting? Why do you think so? What do you see that makes you say so? What more can we find?… So on and so forth. This interaction set the tone for the session.

The thrust of the exercise was to emphasise on two things – that children look at and talk about an artwork through their own experiences and that the facilitator has to paraphrase the child’s thoughts with the use of important and correct terminologies and language. Part of the exercise was also to learn to prompt the children to think more while not using explicit praises for anyone in the classroom.

A short video on VTS explained the resulting factors such as sharpened observation skills, flexible thinking, critical thinking and enhanced communication skills in children.

Being the facilitator

After some insights into the history and research of VTS, its application in different subjects in the classrooms, such as mathematics and literature, it application methods in art-related settings, the group of 20 was split into two for hands on experience of becoming facilitators themselves.

Most of the participants became facilitators, asking co-participants to interpret and share thoughts on different artworks.

Most of the participants who tried to facilitate the session, felt and expressed that it was difficult to be a facilitator, to ask the right questions, to not bring in one’s own thoughts and inclination while probing and asking questions. And all of them felt the need to practice a bit before taking it to their classrooms.


Any comments/questions?

During the question and answer session which concluded the session, some engaging questions were raised and discussed. Some of the questions were:

–         How guided does a conversation have to be in a classroom?

–         What if one wanted to use a three dimensional object for such an exercise and not a painting?

–         Has VTS been used for the visually impaired by having 3D impressions and objects?

–         How can one apply VTS as a parent at home?

–         How does one paraphrase if a child is trying to open up and share something uneasy that the child may be going through?

–         Does a teacher him/herself spend enough time in looking at and engaging with the artwork so as to ask the children to do so?

–         Does a teacher have to know the historical background and facts about the artwork and should they talk about it in class during VTS?

The purposeful session inspired many a teachers to take VTS-inspired classes in their classrooms! Let’s see what the children have to share?!

On Visual Thinking Strategies


Open Minds, MUMBAI |Exhibition walkthrough and discussion @ Delhi Art Gallery

Open Minds, MUMBAI |Exhibition walkthrough and discussion @ Delhi Art Gallery

Open Minds Seminars, MUMBAI| Exhibition walkthrough and discussion| Saturday the7th of December @ Delhi Art Gallery, Kala Ghoda |Facilitators- Amrita Gupta Singh & Tehezeeb Moitra