ADC AUTHOR Senate Majority Leader Mitch McConnell (R-Ky.) called on the Senate Tuesday to pass a disaster aid package before the Memorial Day recess, Politico reported.“We need to get this done,” McConnell said at a late afternoon news conference.The stalled disaster aid package, which includes critical recovery funding for several military installations across the U.S., is caught up over differences with Democrats’ funding level request for Puerto Rico and President Trump’s demand to border-related projects.Senate Appropriations Committee Chairman Sen. Richard Shelby (R-Ala.) and ranking member Patrick Leahy (D-Vt.) shared optimism last week a deal was close on the $17 billion package.But earlier Tuesday Shelby said intensifying complaints from both parties were impeding a final deal, as ADC reported.Senate Minority Leader Chuck Schumer (D-N.Y.) placed blame on President Trump for the delay.“It was all on the road to being solved when President Trump came in and said ‘don’t give aid to Puerto Rico,’” Schumer said Tuesday.Ten governors wrote to the White House and congressional leaders urging them to pass disaster relief aid.
Satish Gujral’s Lifetime Award from the Vice President Venkaiah Naidu comes at a perfect time.Gujral is a versatile and consummate draughtsman, painter, sculptor, architect and writer.Gujral’s artistic career has spanned more than six decades and several mediums and genres.In 1961 in the New York Times, a critic penned his impression of the brilliant artist Gujral.”Gujral is a young Indian painter whose pictures concern themselves with the dialogue between single tragic figures and buildings set down around them with all the apparent solidity of a stated fact. This dark, parched environment is part of a locked-in world, in which figures and buildings stand among the soundless fall of shadows, so that our inspection seems like a trespass. There is something hauntingly Indian in his work, although he consciously refuses to exploit traditional Indian styles. Perhaps this quality lies in the dry colour, sunburned and gritty, that is dragged across the surface to create a uniform mat texture,” wrote the article. Also Read – Add new books to your shelf”His pictures are most impressive when subtleties of colour begin to play across this harsh surface like hints of a mirage in a dry desert. But these pictures have an elusive quality that retreats into profundity as you attempt to grasp it. They involve one more and more, so that eventually their seeming solidity dissolves into sliding planes of colour that are somehow slightly desperate, like a house of cards built before some infinite horizon.” (B O’Doherty, New York Times, May 31, 1961, published in Satish Gujral, exhibition catalogue, Forum Gallery, New York, 1964, unpaginated) Also Read – Over 2 hours screen time daily will make your kids impulsiveGujral’s work will be in the Saffronart Auction this September in Delhi on 20th September at the Oberoi Hotel, New Delhi.This stunning wooden sculpture is among one of his best. The sculpture in burnt wood and gold is a result of his experiments with burnt wood-a medium he grew fascinated with after seeing the multi-hued embers emerge from a burning log of wood. Intrigued by the possibilities of sooty wood, he created sculptural forms with this material-often abstract representations of deities-interspersed with vermillion and gold colours, such as in the present lot. He explores the spatial elements of depth and texture through a unique technique and his multi-faceted, contemporary sensibilities.But it also references multiple imagery from Indian mythology. Gujral’s paintings too stand him in good stead.Whatever he has done he has done so with his own intuition and hard work and unique sensibility. About his paintings Gujral said in an interview: “Thematically it is passion, but inside me, there is an expression of inner fury. You can see it in the whirls on the canvas, through the movement. The whirl is not what is painted. I found out what I had done when I finished. In my Partition paintings there is the same movement in the contorted muscles: the coils symbolise snares in our memory. The inner storm is in the gesture. The motivating expression may be of despair, anger, sorrow or sexual passion, but no artist ever reached the final riding on content.”One of his best series was ceramics , taking the painter to the boundary of the world between art and art decor. His murals done in the 70s were walls in themselves: The Hindustan Times building, Delhi High Court; Sultan’s palace, Muscat; Agricultural Institute, Hissar and many other places are succinct examples.Sculpture has been a very important phase: black burnt wood, and metal have been constant creations. But the real take-off for Gujral was architecture.. Huge domes of some Kubla Khan dream metamorphosed on Indian landscape in red brick. The magnum opus in Delhi by Gujral is the Belgian Embassy . The University of Goa and the Computer Management Corporation, Hyderabad are also important architectural works.In an interview in the 1990’s he said: “An artist should not be connected with anything he has not created himself. When I did ceramics I did it all myself. Many asked me to do tea sets which would be mass produced in my name but I refused…Artists are influenced by craftsmen: actually artists are basically craftsmen endowed with poetic vision. When I did a ceramic mural I didn’t go to a factory. I sat down and studied chemistry, how to build kilns.”
India is known for its countless dance and music styles which celebrate romantic, mythological or devotional themes. Introducing the new generation to our rich and diverse culture, ‘Under the Banyan tree on a full moon night’ is back with its September edition. To be held on 22, 7 pm, at 1AQ, Opposite Qutub Minar, the next edition in the concert series filled with delightful elements that make for a memorable evening, stunning ambiance, delectable food, a selective audience, and the magical full moon – seeks to celebrate three art traditions which emerge from North India. Also Read – Add new books to your shelfThe musical evening will start with a performance by Indira Naik, an institution in Hindustani classical music. She has been trained under Pt. Satyanarayan Singh, Pt. Mohinderjeet Singh, Pt. Dayal Thakur, and Pt. Vithal Rao, all stalwarts in the field. Indira has collaborated with a diverse set of musicians and has also released four studio albums. For under the banyan tree on a full moon night, Indira Nayak will perform Thumri, a semi-classical celebration of love and joy, such as the Radha-Krishna love saga. Also Read – Over 2 hours screen time daily will make your kids impulsiveThe second set of performers, The Ganganis, represent a unique art tradition of a family which is filled with expert Kathak dancers and percussionists, trained at home by family members who have passed down traditions, skills, and styles over decades of dedicated practice. The Ganganis will present a percussion centered set which will celebrate the rhythms and beats of the Kathak tradition. They will also showcase a dance performance, which will be a glimpse of the Kathak dance form. The final performance of the evening will feature The Kutle Khan project. A testament to Kutle Khan’s voyage into a world of music ‘beyond boundaries’, music played by The Kutle Khan project is a perfectly distilled blend of musical styles, while still retaining a strong Rajasthani folk sensibility.The evening’s entertainment will conclude with a performance by the Kutle Khan project; Rajasthani folk performers, who celebrate the Kaalbeliya dance form – an energetic celebration of the Kalbelia tribe.The event also comes with an inspiring space creatively conceptualised by Anubhav Nath offering a stunning view of Qutab Minar, the venue 1AQ, the company of a select community and the rain- washed full moon to bring to you a complete musical soiree experience.The August edition featured Hindustani vocalist Pavitra Chari, Atul Shankar and a mesmerizing performance by ‘Women of the World’.