Shakti Burman

Shakti Burman

Shakti Burman was born in 1935 in Kolkata. He is a contemporary Indian artist who lives in France. He grew up in East Bengal which is now Bangladesh. Despite living in France for several years he has maintained strong ties with India and regularly exhibits his work. He is a fine lithographer who has the ability to achieve an incredible range of tonal and textural variations. Several books have been illustrated by him such as collection of Mallarme`s poems. Several portfolios of his lithographs have also been published.

His works are steeped in romanticism and fantasy. Europe and India are fused in his thoughts. From unlikely places exotic birds and blooms sprout. Sensuously painted women lie in a mythical landscape. The surface is textured that look like aging frescos.

He uses complementary colours, varied textures thereby holding out a dream world of harmony - a world that is an abode of abiding peace. The viewer feels assured of peace and happiness in the world of Burman`s paintings. The trees, the birds and the animals; the flowers; the open water bodies, the boats, the flutists and drummer boys are depicted in his works. Reality meets and blends with his dream world. Realism is very much a part of his paintings however he returns to his dream world time and again.

He says "My childhood memories are always there, mixed up with the realities of the day. In creative art, the role of memory is a recognised fact. But in my case, that of a painter working in a foreign city a vast distance away from his native milieu, memory is doubly potent in sustaining the creative life,". Over the years he has developed his own style and technique to project the world of his vision. Classical sculpture and painting have influenced his paintings that were visible in his paintings of the 1960s such as "Bodhisatva", "Tree of Knowledge", "Dream" and "Dream of Maya". French tapestry is visible in his paintings. Some of his paintings are illustrative. His paintings are mostly in oils. His own image, the people whom he knows and the historical characters are the themes used in his paintings.

Jayasri Burman

Jayasri Burman

Jayasri Burman is a noted contemporary Indian painter. She was born in 1960. She received her training in fine arts from the Kala Bhavan in Shantiniketan, and later from the Visual College of Art, Kolkata. Eventually she received training under the illustrious Monsieur Ceizerzi in print making in Paris. Jayasri Burman hails from a family of prominent artists. She is married to the celebrated artist Paresh Maity. Her uncle Sakti Burman, residing in France, is an illustrious Indian artist. Expert artist Maya Burman is her cousin.

Jayasri Burman`s work can be regarded as masterpiece, which has `a dream-like and lyrical quality with unique sensitivity`. Her works are primarily inspired from the Indian folk element. Through each of her creation the refreshing quality of forthrightness and honesty is reflected. The originality of her paintings is very delighting. The ornamental and contriving element of the folk style is very minutely woven into the patterns of her canvas. But whatever the case may be, originality and natural charm is always present in her creations. Jayasri Burman`s paintings never face the lack of sophistication. These qualities of her creation are considered exclusively her own.

Women are the main theme of Jayasri Burman`s paintings. They have always been given a significant place in her creations. She is not a feminist, but has always attempted to see the women content in various aspects of life. Her women are `free and at one with Nature, sometimes they are a coronated ceremonial bird, and at others, a mother Goddess or a creature of the woods`. Her works also expresses her intimacy with nature. Through her paintings, the lush green environs, the crossbred imagery of a woman, the moribund pools that divulge the flamed colours of "Basant" (spring) are reinterpreted. The image of woman in her painting is more bird-like in her poise and form.

The body of work of Jayasri Burman brings out an unconscious debarred energy that can be found in the surroundings of Shantiniketan, from where she has obtained her finest skills in painting. `The dance of colour` is her current vehicle of expression. The responsible factor behind this grace is the development of her maturity and her own satisfaction with life. What she had benefitted then has helped her to respond to the wide-ranging facets of Indian culture- this new kind of Nature has enthused the artist to direct her eye upon the paint.

Red, blue or radiant saffron are the colours frequently used by Jayasri Burman. Her works can be seen as `commitment to an art that is derived from the experience of the landscape - it is more than a matter of seeing things afresh - it is the perception that is aware of the transience and mutability of landscape`. Her works depict closeness in every sphere, sometimes it admits the viewers and they started realising themselves to be a part of it. One step into the world of Jayasri Burman`s work, and one becomes stimulant in responding to the nonconformist canons of beauty and partake of the choreography of Nature. She has won several prizes for her art works. In 1987, she received Certificate of Merit, All India Youth Art Exhibition; in 1985 she was awarded the National Award. In 1979 Burman was felicitated by the College of Visual Arts in Tempera for Outstanding Merit in the Annual Exhibition.

She has exhibited her works in India, and overseas as well. In 2005, she organised an exhibition, namely "The Family" where she had exhibited paintings of her artist family members. Some notable exhibitions of Jayasri Burman are-- 2006 `Sacred Feminine`, Art Musings, Mumbai; 2005 Fairytales & Laments- The Mythology of Jayasri Burman, Arts India, Palo Alto; 2002 Gallery Sumukha, Bangalore; 1997-99-2000 Gallerie Ganesha, New Delhi; 1992 Pundole Art Gallery, Mumbai; 1985-90-92-96 Chitrakoot Gallery, Kolkata; 2006 The Indiart Show 2006, Lasalle - Sia, Singapore; 2005 `The Family` Art Musings, Mumbai; 2005, CIMA, Kolkata; 2004 `Shadanga` Gallerie Ganesha, New Delhi; 2004 Visual Art Gallery, London; 2003 Workshop in Egypt with Indian Contemporary Artists by BAYAR ABS; 2001-02 Modi Foundation, London; 2001-02 `Bollywood Show`, Selfridges, London; 2001-02 Group Show of Bengal Art, Centre of International Modern Art (CIMA), Kolkata; 2002 `The Family-3`, with Sakti Burman, Maya Burman, Jayasri Burman, Apparao Gallery, Chennai; 2001 `Indian Contemporary`, Hong Kong; 2001 `Indian Contemporary Fine Art`, Los Angeles, USA; 1999 `Emerging Trends`, Centre of International Modern Art (CIMA), Kolkata; 1997 `Panchadashi`, Gallery La Mere, Kolkata; 1997 `The Best of Bengal from Independence to the Present`, Chitrakoot Art Gallery, Kolkata; 1996 `Urban Signals, Shifting Images-II`, Birla Academy of Art and Culture, Mumbai; 1994 Exhibition of paintings and Sculptures by Eminent Contemporary Artists, Chitrakoot Art Gallery, Kolkata; 1993 `Life-Long`, Emerald Isle, Kolkata; 1992 `The Baijis`, Chitrakoot Art Gallery, Kolkata; 1991 Annual Exhibition of Graphics, Paintings and Sculptures, Gallery BF-14, Kolkata; 1991 `A Tribute to Vincent Van Gogh`, Vadehra Art Gallery, New Delhi; 1990 `Kolkata through the Eyes of Painters`, Birla Academy of Art and Culture, Kolkata; 1989 `Young Faces in Contemporary Indian Art`, Birla Academy of Art and Culture, Kolkata; 1999 `Summer Show by Contemporary Eminent Artists of Bengal`, Chitrakoot Art Gallery, Kolkata; 1984 Three Person Exhibition, Paris; 1987 International Triennale, Intergraphic, Germany; 1986 Bharat Bhavan Biennale, Bhopal; 1983-85 National Exhibition, Lalit Kala Akademi, New Delhi; 1983-85 National Exhibition, Lalit Kala Akademi, Kolkata; 1983-85 All India Fine Arts and Crafts Society (AIFACS), New Delhi.

Jahar Dasgupta

Jahar Dasgupta

 

Jahar Dasgupta was born in Jamshedpur ( TataNagar, Jharkhand, India) in the year 1942. He was admitted to Kalabhavan, Shantiniketan and took his primary lessons under legendary mentors like Ramkinkar Baiz and Benode Bihari Mukherjee. He passed from VisvaBharati in the year 1964. He uses soft but bright colors in his paintings and rebellious in his own world by reconstructing the barriers between traditional and contemporary art. For his subject of work Jahar Dasgupta has chosen women as an integral part of all of his paintings and nature comes just after.

Jahar Dasgupta has done many solo exhibitions as well as group shows and was invited as artist from several parts of India and abroad. He attended workshops in different places of West Bengal, Delhi, Tripura, Hyderabad and Andaman & Nikobar. He was also one of the founder members of Painters` Orchestra.

Jahar Dasgupta`s solo shows were held at Chitrakoot Art Gallery, Lalit Kala Academy, Academy of Fine Arts, Gallery Honsmania (Norway) and Club Bangladesh (Sweden) in the period 1967-2006. In the same period of time he also participated in group-shows namely Nehru Center, London; Maisonde 1` Inde, Sally Indira Gandhi, Paris; Salon Exposition (South Korea); Indian Habitat Center (New Delhi); Academy of Fine Arts (Kolkata); Jahangir Art Gallery (Mumbai) and attended all group shows by Painter`s Orchestra held in Kolkata, Shantiniketan, Delhi and Mumbai.

His collections are in many places in India and abroad like Holland, USA, UK, Spain, Norway,France, Korea and Muscat . Recently Prince of Wales Museum, Mumbai collected his paintings.

Dhiraj Choudhury

Dhiraj Choudhury

 Dhiraj Choudhury was born on 1936 at then Bengal, now Bangladesh. He was a student of Government College, Darjeeling and the Principal Dr. K. D.Ghosh encouraged him to follow up his dreams to become an artist. Later he was admitted to College of Arts and Crafts, Calcutta and Delhi Polytechnic (Delhi College of Art). He has taught from 1962 to 1996 in Women Polytechnic and Department of Painting, Delhi College of Art, University of Delhi. He has ameliorated Calcutta Painters Society by being a member, of Artists Forum, Society of Contemporary Artists, AIFACS, New Delhi. Dhiraj Choudhury has founded `Quartet Artist` and `Line`, a group devoted to drawing.

Dhiraj Choudhury has more than eighty exhibitions, among which sixteen are international, which is sufficient enough to understand his popularity as a painter. UK, USA, France, Germany, Switzerland, Singapore are the countries where his foreign shows were arranged. In 1979 an exhibition in Geneva with Miro and Dali added a feather to his cap. Dhiraj Choudhury has participated in many National and International Exhibitions and received many awards including National Award on 1995.On the same year he had Exhibitions of his major works at Birla Academy of Art & Culture, Calcutta and All India Fine Arts & Crafts Society at New Delhi.

In 1998 the shows were `50 Years Struggle for Freedom`, a retrospective at Rabindra Bhavan and Lalit Kala Akademi of New Delhi. On 1999 there was `At The Threshold of The New Millennium` at Kumar Gallery, New Delhi. In 2000 there was a traveling exhibition in Sweden on Mural on `Love`. In South of France the paintings `Love` were exhibited at the Millennium Festival, as well as St. Albans, UK. He also painted and exhibited at St. Petersburg, Florida, USA. On 2001 there was a Retrospective of his Water Color painted in the period 1955-2000 at Art Consult of New Delhi. He had many One-man shows among which the exhibition in Art World, Chennai and other one in Time & Space Gallery, Bangalore can be named. Dhiraj Choudhury has curated his own exhibition and art workshops on the theme of `Love` at St. Albans, and Margaret Harvey Gallery at Herts, UK. In 2002 the exhibition on `Colors of Love` paintings at Kumar Gallery New Delhi brought a lot of fame to Dhiraj Chowdhury`s work.

Dhiraj Choudhury has curated and organized workshops and exhibitions on social theme `Their Story` at Manipur, Madhya Pradesh, Rajasthan and Delhi. On 1982 he became the advisor of `Philosophy of Education for Contemporary Youth` sponsored by ICCR and Department of Culture, Govt. of India. He visited Bangladesh and gave lectures in Dhaka Art College, where there was interaction between Bagladeshi and Indian artists. Beside these Dhiraj Choudhury is involved in many other social works. He is the Art Advisor at the Department of Culture, National Gallery of Modern Art, New Delhi. He was also the Art Advisor of HUDCO, New Delhi and was associated with the Voluntary Health Organization,India. Dhiraj Choudhury initiated `Sketch Club` among his students, organized `Womens` Painters Group`, `Line`, `Quartet Artist` and `Artist Forum`. He is also associated with Gallery 26.

Few of Dhiraj Chowdhury`s publications are `50 Years Struggle for Freedom` published by A. Mukherjee & Co; `South of France Through the Painters Eyes`; `70s 80s 90s Drawings`, `Art Consult:Love at the Threshold of the New Millenium`, Kumar Gallery, New Delhi; Portfolio of `Line, Ton & Texture` ; `Love` ; `Singapore` ; `Child`; `Reproductions of paintings`.

The collection of Dhiraj Choudhury can be found in Victoria & Albert Museum, London; Caparo House, London; Indian High Commission, London; St. Albans Community Center, UK ; National Gallery of Modern Art, New Delhi; Lalit Kala Akademi, New Delhi and also in many private collections in India and abroad.

K G SUBRAMANYAN

K G SUBRAMANYAN
I met Panicker sometime in 1942. It was by a surprising coincidence. I was in those days a student in the Presidency College, Madras, and a kind of student activist. Rather sour with things around I used to divert myself with paintings and scribbling and some of these paintings and scribbles found their way to Panicker’s hands through a common friend. These apparently roused his enthusiasm and he showed them to D.P. Roychoudhury, then principal of the Madras School of Art who, in his turn sent me a dramatic invitation to join the School as his special student. I did not do so for various reasons, and , in any case, that is an old story. The incident comes back to me now
that Panicker is no more. For it shows the man to a certain extent; for him art was a  consuming passion and anyone in the field, irrespective of who he was, was his immediate friend. And he went very much out of the way to befriend him. It is this enthusiasm that made him the central hub of a large corpus of art activity in Madras in the fifties and the sixties and, later, the mentor and motivator of his incredible dream-child, the Cholamandal Artist Village.
When I first met Panicker I was a new-comer to the field of art and he was already a respected teacher in the school, next in status only to Roychoudhury. But that did not stand in our way. There was no reserve in the meeting; he showed his work to me and discussed art with me as if we were old friends. He was at that time quite a virtuoso. His water colours and gouaches, interweaving the lights and shadows of palm groves, had a freshness of touch that could surprise both expert and novice. His drawings had a kind of bottled excitement in them and combined to that a great professional competence. He bounced around the enthusiasm, his eyes sparkled at everything he saw, the people, the landscape, the common facts of the Madras street and his response to these was always earnest and direct.

I did finally end up in an art school two years later (though in Santhiniketan and not in Madras). I sometimes wonder whether meeting Panicker had something to do with it. Anyway, we always met thereafter whenever I was in Madras, though this was not very often. I always enjoyed the meeting and, I suppose, so did he; we went over a variety of topics, on art, on literature and the like. Panicker’s interests were large, which was fair among the artists of his time, and he was remarkably articulate. We discussed his work and mine, though there was no much of mine to discuss at that time; and I had a periodical glimpse of what he was going through at that time.
In the late forties Panicker was trying hard to slough off his virtuosity. With it he probably felt like he was still wearing the school blazers. He was trying to start afresh, keeping in front of him a kind of Van Goghian ideal, a direct expressive response to things around. His work took on a simpler image; his palette brightened up and the linearity of forms became pronounced. Not much later he made a trip to England, visiting Europe on the way. His western excursion affected him like it affected most Indian artists of any individuality; it threw him back to himself. It was as if across the seas a strange longing for his land caught him in the pit of his stomach. On his return he became a -
committed indigenist, though not in the traditionalist sense. And it started him on a new road. what he has done since is now known to a lot of people. At first his painting featured voluptuous human forms in rambling line, which metamorphosed slowly into wriggling foetal specters and later uncoiled into rhythmic lines and squiggles, moving in stages from a writhing human landscape into a microbial street of linear romanticism. They became less rolled out an intriguing carpet of colour fields and calligraphic texture, with a distant visual reference to our old manuscript scrolls.
Panicker’s role in the art world of Madras was a decisive one. He was the first person who contributed much to bring the South Indian artist out of his crisis of self-confidence. His infectious enthusiasm worked like leaven in the youth. He helped them, organized them, fought their cause on national forums to the chagrin of many. But his role in the Indian Art world is even more illustrious; he led a generation of young artists to look into themselves and their surroundings; if it led some to these into certain preciosities it was not his fault. He made them think about art in a larger perspective; the artists’ village he founded in Cholamandal is a lasting proof of this. To persuade young artists to call off their dependence  on commercial galleries and live in a kind of commune, living and working together, sharing their successes and failure, practicing art in a larger spectrum is a remarkable achievement; not only is the concept elevating, in the realities of our art situation it is a pragmatic one too. The survival of this village intact, with the same spirit and perspective, will be a living monument to his vision.

Why do I paint
I myself do not know precisely, why I paint. Apart from a general ill-defined knowledge of the impulses behind my other activities I have had no exact assessment of these. However, from my childhood days, ever since consciousness dawned on me, what has haunted by imagination throughout was a sense of some deficiency, and a sense of inferiority. I had yet another awareness; that if I had been alone; if there were no one to see what I was doing, I would be able to do something beyond the capacity of most. This helped me to land into many scrapes. Though my tales about my imaginary daredevilry were made fun of by other children, the elders listened to these amusedly. And they used to ask me to repeat such tales. However,	....
I used to feel that i had never succeeded appreciably in this diversion. And I used to wonder why. But , I was helpless to remedy it. With the narration of such tales I used to gather some sort of self-confidence. And I had nothing else to do. It was at this time that another youngster joined the school, the Madras Christian College School. Though he had been only eleven years old, he was gifted with the ebullient skill of executing drawings and paintings in simple style. He helped to open my eyes. But, on sensing his invaluable innate gift, I used to feel bewildered. I began to draw the pictures of villages and coconut groves which I had been familiar with , in my village in Kerala. Canals used to make me highly emotional. And my eyes used at such times to fill with tears. Feelings that this was unmanly, I was at pains to hide the tears from others quickly wiping them off. I began to paint continuously from then onwards. Initially, these depicted canals, coconut groves and paddy fields. And this work could be done alone, without the supervision of anyone else. And I could get immersed in such work. And it was much better than spinning out heroic tales. It used to give me similar self confidence and was of equal attractiveness.

At this stage, painting had been a source of joy. I had no serious worry. I began to gain strength steadily to reach a well defined goal. It was at this time that the goal itself was challenged. And I began to feel that the heaven which I had built for my own self was transient and insubstantial. And when I woke from my dream I felt sure of one thing- I had to build a new different world. This shifting of goals occurred at least four times during my career. Though the goal kept changing the emotional response from painting remained constant. Ravi Varma, Lady Pentland, Cotman, Brangwyn, Van Gogh, Gaugin, Mattisse, Fauves etc., came and went, one after the other, in a series of influences. Sometimes I used to be under the influence of many such, simultaneously. But, during the early 1950s I began to feel dissatisfied with the Western influence which had been my mainstay. From then on, between 1953 and ’63, I was under the influence of a combination of Ajantha and Van Gogh. This was the period during which it dawned on me that I would be able to contribute something at sometime or other to the art of our country. But, I had to complete quite a lot of work, before attaining this goal. And the art movement in Western countries was going ahead rapidly. I was aware, early enough, that unless one was able to grasp and assimilate the fundamentals of Western modern art in would not be possible to contribute anything worth while to the art of our country. I used to hear a lot about Paul Klee even then . Egyptian pictures and hieroglyphics influenced him considerably. It was Paul Klee who roused plenty of hopes in me. Paul Klee who roused plenty of hopes in me. Paul Klee is closer to our art than Picasso or Braque. His lines are simple and full of life.
Once again, the little world which I had built, tumbled down round my ears. After learning the lessons imparted by Klee, I was at a loss how to commence work on the basis of these, from scratch. I did not like to copy him. It would be an insult to my Guru. I had to begin from the beginning, like any beginner. The past was found equally to be a help as well as a hindrance in this new venture. I was inspired and at the same time cast down. Suddenly, one day I happened to notice a page from the maths note book of a young student. Arabic figures, Latin and other symbols of Algebra
and Mathematics and the linear and other formations of Geometry, all helped to rouse in me a new idea. I had been familiar with these in the past. But, only as a student of Maths. But now these opened our a vista of creative art. With renewed ardour I plunged into the new phase, in 1963. By the time my lines had begun to assume the essence of words and symbols.

As my interest turned more and more into traditional Indian symbols, astrological charts and astrological tomes I began to discard the Roman letters which I had used in the beginning and began to adopt the Malayalam script which was more acceptable to me.

It was much later that I came across Tantric art. Somehow, these failed to have any impact on my creative impulse. The symbols which I use now are not symbols of any thing particular. Even most of the alphabets are those fashioned by me.

Malayalam script remains only, every partially, as Malayalam letters. Mostly these are indecipherabale signs which resemble letters. I have used these only to provide visual effects to the picture.

K.C.S. Panicker

K.C.S. Panicker

"I have been influenced throughout my artistic career by the great Indian spiritual thinkers. They explored the metaphysical and the spiritual worlds, while I interpreted it on my canvas." --- K.C.S. Paniker. K.C.S. Panicker is regarded one of the best metaphysical and abstract painters. His artwork during the 60s started establishing a new era of Indian art, in terms of the country`s antique metaphysical and spiritual knowledge. At that time, Western paintings were still dominating over the world of fine arts.

K.C.S. Panicker was born on May 30th 1911 in Coimbatore. He used to live in a lush green village, from where he acquired inspiration. The colourful landscapes, which he created during his early years, were the result of that inspiration. Later he moved away from landscapes onto other things, but the effect of bright colours always stayed in his paintings. A child prodigy, K.C.S. Panicker had started painting landscapes at the tender age of 12. When he was 17, he had presented his paintings at the Madras Fine Arts Society`s annual shows. In 1918, after the death of his father in order to support his family, he took up a job in the Indian Telegraph Department. He had to give up his college education for this.

Later, by the age of 25, Panicker joined the Government School of Arts and Crafts in Chennai. In 1954 he got his first international exposure. During his exhibitions abroad, he came in touch with abstract artists like Sarvodar Dali, who had a major influence in his art. As he recalls, "They hark back to the weird, but spiritually uplifting figurative exaggerations of ancient Indian painting and sculpture." Panicker went on to use calligraphy and symbols down the line, in order to project a state of metaphysical abstraction. K.C.S. Panicker expired in January 1977, at the age of 66 in Chennai.

In 1954, the Ministry of Education, Govt. of India, chose K.C.S. Panicker as one of the Nine Eminent Artists and Member of Executive Board of the Lalit Kala Akademi, New Delhi. He had travelled extensively in England, France, Switzerland and Italy and also had conducted one-man exhibition of paintings at the India House, London, Paris and Lille. Between 1955 to 1958, he was appointed the Vice-Principal as well as Principal of the Govt. School of Arts and Crafts, Madras. In 1959, Panicker travelled extensively in USSR and talked on Indian Art in Moscow, Leningrad and Kiev. In 1961, he took part in the Exhibition of paintings at the VI Bineal de Sao Paulo, Brazil. He had also participated in the Indian Art Exhibition in Mexico and had helped in the upgradation of the

Government College of Arts and Crafts. As a member of the Indian Delegation in 1963, KCS Panicker travelled expansively in USA and took part in discussions with American artists as a guest of the State Department of USA. Between the years 1964 and 1967, he had also participated in the Tokyo International Exhibition, the Festival Hall Exhibition, London (1965), and the Venice Biennale, 1967. He was also conferred the national award for painting in 1966. He had founded the Cholamandal Artists` Village in Madras. In 1967 he retired from the post of the principal of the Govt. College of Arts and Crafts, Madras. In 1976 he was elected Fellow of the Lalit Kala Akademi.

Anjolie Ela Menon

Anjolie Ela Menon

Anjolie Ela Menon was born in 1940 in India of mixed Bengal and American parentage. She went to school in Lovedale in the Nilgiri Hills, Tamil Nadu and thereafter had a brief spell at the J.J. School of art in Bombay. Subsequently she earned a degree of English Literature from Delhi University. After holding solo Exhibitions in Bombay and Delhi in the late 1950s as a teenager, N4enon worked and studied in Paris at the Ecole des Beaux Arts in 1961-62 on a French Government scholarship. Before returning home, she traveled extensively in Europe and West Asia studying Romanesque and Byzantine art. Since then she has lived and worked in India, in England, the U.S.A., Germany and the erstwhile USSR. She had over thirty solo shows including at Black heath Gallery-London, Gallery Radicke-Bonn, Winston Gallery-Washington, Doma Khudozhinkov-USSR, Rabindra Bhavanand Shridharani Gallery-New Delhi, Academy of Fine Arts-Calcutta, the Gallery-Madras, Jehangir Gallery, Chemould Gallery, Taj Gallery, Bombay and Maya Gallery at the Museum Annexe, Hong Kong. A retrospective exhibition was held in 1988 in Bombay, Menon has participated in several international or shows in France, Japan, Russia and U.S.A.
In addition to paintings in private and corporate collections, her works have been acquired by museums in India and abroad. She is also a well-known muralist and has represented India at he Algiers Biennale, the Sao Paulo Biennale, Brazil and three triennials in New Delhi. She has been invited by the British Council, the U.S. State Department and the French Ministry of Culture to confer with leading artists in those countries. Menon @as served on the advisory committee and the art purchase - committee of the National Gallery of Modem Art, New Delhi, where she was co-curator with Henri Claude Cousseau for a rnajor exhibition of French Contemporary Art in 1996. Her work recently went under the hammer at the Christie's and Sotheby's auctions of Contemporary Indian Art in London. A book titled "ANJOLIE ELA MENON: Paintings in Private Collections" has been published on her life and work.
Menon lives and works in Delhi.