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Citizen Gallery: The Gandhys of Chemould and the Birth of Modern Art in Bombay (HB)

Citizen Gallery: The Gandhys of Chemould and the Birth of Modern Art in Bombay (HB)

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ISBN 9789390477050|Hardback|328 pages|2022|Speaking Tiger

Citizen Gallery tells the story of the birth of Gallery Chemould and the contains a section on the Bombay Art movement in Kekoo and Khorshed Gandhy's own words.

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Author: Jerry Pinto

9789390477050 | HB | pp. 328 | 2022 | Speaking Tiger

Citizen Gallery tells the story of the birth of Gallery Chemould and the contains a section on the Bombay Art movement in Kekoo and Khorshed Gandhy’s own words.

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Now a byword in the art world, Gallery Chemould ran for years on a wing and a prayer. Those who knew Chemould well knew that the wing belonged to Kekoo Gandhy, the mercurial entrepreneur who believed in modern Indian art when museums thought that the works of the Progressives should be hung in the toilet, if at all. Khorshed Gandhy said the prayer through clenched teeth, as she held the whole thing together.

The story begins in the 1940s when Kekoo Gandhy decided to set up a picture-framing store on Princess Street. To this store, Chemould Frames, came the likes of KH Ara, MF Husain, SH Raza, FN Souza, and others who called themselves the Progressive Artists Group. Husain sold his first canvas from that very window. Kekoo Gandhy brought in the few rich buyers there were in those days including the scientist Homi Bhabha and the industrialist Naval Tata.

In the 1960s, the manager of the Jehangir Art Gallery invited his friends Kekoo and Khorshed to start an art gallery in an empty space on the first floor. On 16 September 1963, Gallery Chemould opened its doors to the world with an exhibition of paintings by KK Hebbar, VS Gaitonde, Laxman Pai and several others from the growing community of Indian painters. It became the training ground for the eyes of the city.

Eventually Chemould moved to an expansive new space: Chemould Prescott Road, now run by their daughter, Shireen Jungalwala. The gallery’s new avatar continues to champion modern art with a range of brilliant artists from Vivan Sundaram through Neelima Sheikh and Atul and Anju Dodiya, to Jitesh Kallat and Reena Saini-Kallat.

Did Gallery Chemould play midwife to the Progressives? Can a gallery be a responsible citizen? Read on then.

Author:

Jerry Pinto
ISBN:

9789390477050
Binding:

Hardback
Pages:

328
Year of Publication:

2022
Publisher:

Speaking Tiger
Edition:

First
Condition:

New
Country of Origin:

India

About the Author

The author wrote Murder in Mahim (2017) and Em and the Big Hoom (2012; winner of the Hindu Prize and the Crossword Book Award), and the non-fiction book Helen: The Life and Times of an H-Bomb (2006; winner of the National Award for the Best Book on Cinema). His other books include Asylum and Other Poems, Surviving Women, A Bear for Felicia, Monster Garden, When Crows Are White and, as editor, A Book of Light: When a Loved One Has a Different Mind, Reflected in Water: Writings on Goa, The Greatest Show on Earth: Writings on Bollywood, Bombay, Meri Jaan: Writings on Mumbai (with Naresh Fernandes) and Confronting Love: Poems (with Arundhathi Subramaniam). He has also translated (from Marathi) Daya Pawar's classic autobiography Baluta, and the memoirs I Want to Destroy Myself (Mala Udhvasta Vhachay) by Malika Amar Shaikh and I, the Salt Doll (Mee Mithaachi Baahuli) by Vandana Mishra. Jerry Pinto also teaches journalism at the Sophia Institute of Social Communications Media in Mumbai and is on the board of directors of Meljol, which works in the sphere of child rights. In 2016, Jerry Pinto was awarded the Windham-Campbell Prize and the Sahitya Akademi Award.

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