Wednesday, December 30, 2009

IDCO to complete construction of the new campus of Culture University in time.

BHUBANESWAR: Higher Education Minister Debi Prasad Mishra has directed the Orissa Industrial Infrastructure Development Corporation (IDCO) to complete construction of the new campus of Culture University in time.

The new campus, being constructed by IDCO on 50 acres of land at Madanpur on the city outskirts at an expenditure of Rs 23 crore is slated to be completed by January, 2011.

Out of the total fund, Rs 18 crore is meant for construction of campus while Rs 5 crore will be utilised for hostels.

The Higher Education Minister today discussed the issue with Finance Minister Prafulla Chandra Ghadei. Established under the University Grants Commission (UGC) Act in 1999-2000, the university started with 65 students in the first year. Besides, 37 institutions are affiliated to it in which 2,964 students are studying in various subjects.

Drawing attention of the Finance Minister to different problems, Mishra said that ad hoc posts in different departments of the university should be regularised soon. Besides, he said the post of registrar which has been vacant for long should be filled up. He demanded that posts of controller of examinations and finance should be created for the university soon.

It was decided that a proposal will be sent to the Finance Department for regularisation of services of 26 employees working in the university since February 28, 2004.

It was also decided that linguistic and other departments in the university will be streamlined to improve the quality of teaching.

The two discussed increasing allowance given to different artistes and grants sanctioned by the university to different cultural organisations.

Agriculture Production Commissioner RN Senapati, Principal Secretary in the Finance Department Jugal Kishore Mohapatra, Secretary in the Tourism and Culture Department Mona Sharma, Director in the Culture Department RN Kar and registrar in-charge Haraprasad Parichha Patnaik attended.
Source: The New Indian Express

Sunday, December 27, 2009

Lack of a market for Art in the State, coupled with absence of any government-funded exhibitions and fairs has reduced Artist's futures in Odisha

The brush and canvas, the stone and chisel are no more in Artist's hand in contemporary Odisha. The dream of becoming an artist has been shattered by poverty. And now who are completed their study in Art, those roam the lanes and by-lanes of cities in search of work in Odisha.Many of Artists has been sited on a hunger strike demanding creation of posts of art teacher in schools so that job avenues for them get a little wider. But they seem to have failed to hold the State Government's attention on their problems. And because of the almost non-existent scope of employment for visual art students, most do not mind taking refuge in painting footpath banners and commercial posters for a living.

"My hands have begun to shiver and I fear I might never be able to hold a brush again to give shape and color to my flights of fancy," said Prajesh Mohapatra, one of the hundreds visual art students for whom their art degree is just another paper of little relevance today.The abolition of posts of drawing teacher in schools has taken a heavy toll on their careers, says Prajesh. These jobs were the only lucrative ones sought after by visual art students. Further, lack of a market for Art in the State, coupled with absence of any government-funded exhibitions and fairs has reduced their futures to the black and white of poverty and despair.

"How can we ever give form to our imagination and creativity when we ourselves are struggling to exist?", said Bijay Nayak, an artist who has won accolades for his paintings outside the State, but has ironically failed to impress a color blind State Government.Many such disgruntled young artists feel there was no need to open a second Art college when most of the pass-outs from the 50-year-old Khallikote Arts College are still to find a footing in the employment scenario. The second government art college, the B.K. College of Art and Crafts, was opened in 1983-84, and now there is a Culture University in state which has not a proper infrastructure and administrator.

The pitiable state of young artists in the State also emanates from gross negligence of exposure of students to national art camps, competitions and exhibitions so as to give them a chance to prove their mettle on tougher ground."Study tours to different states should be organized at regular interval, there must be seminar and discussions on art and cultural heritage of the state. But there is neither any fund nor any initiative to cater to the needs of the course and students", says an art teacher of B.K.College of Art and Crafts.

Having a faith in the government machinery and hope of any official help in this Government, the art students are waiting for something fruitful, or perhaps maybe a kind, art-loving public may lend them the required support to make the State Government bring back some of the lost color into their dreams.

Wednesday, December 23, 2009

Mr. Byomakesh Mohanty at this new role of Secretary Odisha State Lalit Kala Academy

Before becoming secretary Odisha State Lalit Kala Academy, Byomakesh Mohanty worked as the HOD (Painting) at B.K. College of Art and Crafts, at Bhubaneswar.He studied visual Arts (Painting) at BHU. He was appointed as a member, Advisory Committee of Lalit Kala Academy, New Delhi and executive member Orissa State Lalit Kala Academy. His paintings have been preserved in many important Art Galleries including National Museum of France, Paris & Dusseldorf Art Gallery, Germany. He has served as jury member in various National Art Exhibitions.

AlumniBKCAC welcomes Mr. Byomakesh Mohanty at this new role, hoping he will work towards uplift rich odishan tardition of Art and Culture and growing contemporary art.

Congratulations Byomakesh Sir!!

Thursday, December 17, 2009

Contemporary art in Odisha has escaped the Odia eye sight!!

Art in contemporary Odisha is in search of a direction. One who understands the state, its varied visual culture and historic progression, is struggling to reclaim the context, as I do. Essentially it does not mean that I am claiming myself as an authority but my long association as an artist and art historian engaged in writing and analysis of art has provoked me to re-think the context of art in contemporary Odisha.

After reading and writing considerably on contemporary art in Odisha, now it feels (for several reasons) that art in contemporary Orissa has gone no where beyond the temple sculptures and traditional consequences. Let me put it like this, media has been proactive these days and a layman understands the popular visual language through them. The other day, all the local news channels got together to document the visit of the President of India to Puri and Konark. This news covering her successful visit was followed by a mishap at the air port. As a tail piece, the news regarding the sand sculpture of the President Pratibha Patil was prepared by Sudarshan Patnaik on the beach, caught my attention.

Contemporary art in Odisha is in practice since late 1950s and many artists have resolved to the creative practice since then. There has been a unilateral development in the art field which involves the individual artists without any support from the state. Even the institutions have succumbed to the bureaucratic struggle and incompetence. Even then artists like Dinanath Pathy, Chandrasekhar Rao, DN Rao, Baladev Maharatha from the veteran group; Ramahari Jena, Adawit Gadnayak, Jagannath Panda, Pratul Dash and Tapan Dash, Ashok Nayak, Pradosh Swain, Paresh Choudhury, Deepak Harichandan, Ajay Mohanty and Manoj Mohanty, Sambit Panda, Kantakishore Moharana, Anjan Sahoo, Birendra Pani, Sudhanshu Sutar, Prashant Sahu, Alok Bal and many others lead the young generation have been fairly active contributing to the contemporary art field in their own capacities. The state of recognition in Orissa for these artists have become negligent and even the media is not aware of their activities. These artists have earned name in the international sphere but at home they are helpless as they perhaps may not prepare a sand sculpture or traditional stone carving in most populist way. The artist community especially the visual artists are unable to fit themselves into the media forum as they are busy doing creative global deals. No news paper from print media or the electronic channel has covered them as they have done to Sudarshan Patnaik. Its not only Sudarshan Patnaik has not alone participated in the international symposiums, even these mentioned artists have not only participated but also catalyst in organising art events globally. Think of the Bakul Art Foundation, which has successfully brought in young artists together but also delivered in transforming the viewers in participatory values. Even the Stand up and Speak by Ashok Art Gallery promoting the odia artists in Art summits, Art Expo and Fairs in India.

It clearly reflects the awareness cramp in our media and public. Lalit Kala Akademi in Odisha is struggling to have a sensitive Secretary who could sensitise about the function of art. We need to sensitise our people and media should update itself to deliver the creative aspect of art instead of making halla about the tradition. Our heritage is extremely rich and varied which donot need further popularity except for research. Please let us come to the day than to live in the past or a day would come when we would end up just being outdated. I don’t disrespect the past but at least I can afford to live in the past. I even don’t defy the act of Sudarshan or his art but what I expect is the contemporary awareness. Then perhaps one can contribute to the present of art situation in Contemporary Odisha.
Is someone listening?

Monday, November 30, 2009

He keenly observes the highs and lows of a fast changing society and expresses them either on canvas or other media

London’s Alexia Goethe Gallery presents a solo exhibition of recent works by Jagannath Panda. His realism tends to believe and reside in the existence of Fantasy. In a single creation, the artist within the high rise apartment blocks of the burgeoning India can posit the existence of stylized gods, apparently culled from the old palm leaf manuscripts of his home state.

Assemblage and Collage get divorced from their Surrealist patrimony. His subject matter and ideas are often sourced from the events that unfold around him. As part of his creative churning, the commonplace object acquires symbolic stature, representing aspirations or even rigid dogmas. Environmental and social issues greatly concern this socially aware artist.

Elaborating on his art practice, he mentions: “I’m aware of the fragility of coexistence and also the fact that physical and emotional spaces sometimes act like quicksand.” The ironies of life visible in his surroundings greatly interest him and the unanswered questions arouse his curiosity.

Acting as both mirror and memory, they store preconceived meanings and reflect a contradictory reality that has always intrigued him. He keenly observes the highs and lows of a fast changing society and expresses them either on canvas or other media, drawing on the ambiguities of contemporary life. He states, “You can understand life in many different directions, and that is what I want to paint.”

His deceptively simple visual imagery consists of linear drawing and/or a rendered form or two that appear to float on the surface. Though his drawings are realistic, he refrains from offering a direct reference to the subject’s existence. On occasions he employs tracing sheets, silver foil and thread, to emphasis the reality of the material he uses. Color plays a limited albeit vital role of highlighting form.

Wednesday, November 25, 2009

Govt. of India Scheme for Visiting Fellows in Art, Culture & Heritage

The Scheme is being introduced in order to invigorate and revitalise the various institutions under the Ministry of Culture. This is sought to be achieved by encouraging scholars/academicians to affiliate themselves with these institutions to work on projects of mutual interest. With a view to infuse fresh knowledge capital into the institutions, the scheme envisages lateral movement of these scholars/academicians into the institutions to take up projects and research work related to the main objectives of these institutions and enrich them with a new creative edge and academic excellence. The Scheme will be open to both Indian nationals and foreign citizens. The proportion of foreigners will not normally exceed one –third of the total Fellowships awarded in a year.
Participating Institutions:

Scholars who have sound academic or professional credentials and who have made significant contribution to knowledge in their respective fields, as reflected in publications in reputed and referred journals and books authored by them, or persons with significant creative work in any field of art or culture, will be eligible to apply. The Fellow selected will have to attend the institution concerned, as the objective of this scheme is to provide such institutions with academic expertise, to induce academic orientation in their activities and to provide interaction with visiting academics from other institutions. Therefore, candidates who are in regular employment cannot avail the Fellowship at their parent institution.

Scholars to be engaged must have both the credentials as laid down in the preceding paragraph, as well as a strong reputation in the field covered by the institution. The Ministry of Culture will allot grant-in-aid as part of their budget allocation if the institution is an autonomous body (and seeks such funding) or make required budget provision if the institution is an attached/subordinate formation of the Ministry, for supporting the scholars thus engaged. The institutions will have the full freedom and flexibility to administer the Scheme (for which the Ministry will provide the grant-in-aid/ budgetary provision, as the case may be), within the broad parameters laid down herein under and as may be advised by the National Selection Committee (NSC) on Visiting Fellowships.

6.1 The institutions as well as scholars may identify areas to be explored, but the subject of research need not be confined/limited to one institution. The Fellow selected will work on a project of mutual benefit to both the researcher and the institution(s). The subject of research should be one that can be usefully pursued with the resources and facilities of the institution awarding the Fellowship, though he/she will be free to draw on the resources and facilities of other institutions as well. If the subject of research extends to more than one institution or the Fellow otherwise needs to draw upon the resources and facilities of other institution(s), the institution awarding the Fellowship would act as the Fellow’s nodal institution and recommend the Fellow to such other institution(s).

6.2 To start with, there may be 15 Fellowships per annum, which number can be revised at a later date. An institution can award a maximum of two Fellowships in a year but the NSC will have the discretion to relax this condition in exceptional cases.

7.1 A Visiting Fellow who is from a University, College or Government set-up in India would be entitled to the same pay, including grade pay, etc, which he/she would have drawn had he/she continued in his/her parent organization. Essential or mandatory contribution of the employer to CPF etc. would also be paid as may have been paid by the employer had he/she continued in his/her parent organization.

7.2 A Fellow from abroad or from set-up other than University, College or Government, or who has since retired from active service and/or is on pension, would be entitled to a fixed honorarium of Rs 80,000/- per month.

7.3 Such top-up amount as may be decided by the NSC would be paid to Fellow receiving funds from other sources, to bring his/her total emoluments upto the level of honorarium.

7.4 No payment of honorarium would be made to a Fellow receiving full funding from other sources upto the level of the honorarium. Such Fellow will, however, receive Contingency Grant and other allowances and facilities, as decided by the NSC.

In case of foreign research scholars and Indian research scholars residing or serving abroad, economy return airfare to/from his/her country of residence will be provided/reimbursed by the sponsoring institution once during the course of the Fellowship. The scholar who takes up the Fellowship under the Scheme will also be reimbursed, on ‘actuals’ basis, contingent expenses for making academic trips, engaging research assistants, etc. up to a ceiling of Rs. 2.50 lakhs per annum, during the tenure of Fellowship.

The duration of the Fellowship will be for a maximum period of two years. In exceptional cases, the institution may recommend to the NSC an extension for a period of upto one more year, supported by its assessment of the quality of the work undertaken. The award of the Fellowship will commence from the date of joining and the ‘years’ would be counted accordingly.

10.1 Ministry of Culture and/or the concerned institution will widely advertise the Fellowship, by way of prominent advertisements in national/ regional newspapers, having wide readership and also on its website (which should give all details) as well as to Indian Embassies in other countries, so that maximum publicity is accorded to the Scheme. However, the selection of candidates need not be confined to those who respond to the advertisement. It is open to the institution to consider, suo moto, names of eminent scholars, who in the opinion of the Director or Head of the institution have expertise in subjects relevant to it, for recommending to the NSC. The final decision will be of the NSC that can also invite any eminent scholar to become a Fellow of one of the participating institutions, in consultation with the concerned institution.

10.2 A Screening Committee will be constituted by each institution and will be headed by the Director or the Head of the institution with at least two academics and two officials nominated by the Governing Body, Board of Trustees, or the Ministry, as the case may be. The selection will be based on the relevance of the study and its requirement for the concerned institution. This will be done in two stages. The first stage would be short listing of candidates, according to the criteria broadly specified as part of the Screening Committee process. At the second stage, applications/names of short-listed candidates will be considered by the NSC separately for each institution. Secretary (Culture) will be the Chairman of the NSC, and the Director or Head of the institutions will be its ex-officio Members. The other members of the NSC will be scholars or artistes of repute, or experts who may be recommended by the participating institutions and appointed by the Ministry of Culture. The NSC will meet at least twice a year, to oversee the selection of Fellows and the administration of the Fellowships.

The number of Fellowships administered by each institution will be decided by the Ministry of Culture from time to time, in consultation with the participating institutions. This will be based on certain criteria such as physical facilities already existing in the institution, capacity of the institution to guide and inspire the Fellows to get the best out of them, its past record in publication and research, need for research/study in a particular area etc. An amount of up to 2% of the total allocation may be set aside for meeting expenses related to the administration of the scheme including monitoring, implementation, inspection, review etc of the research work carried out by the Fellows.

Candidates may submit their application on plain paper along with bio-data, list of publications, other relevant documents including one- page synopsis of the work he/she wishes to do, and names of two referees along with their contact details. The applicant should also enclose a declaration stating that if selected for the Fellowship, he/she will complete the tenure of the Fellowship.

Fellowship amounts may be released on a monthly basis to each Fellow. All Fellows will submit a work plan for the period of research to the Head of the institution. The Fellow would be required to submit six-monthly progress reports to the concerned institution and these will be placed before the NSC by the concerned institution along with its comments thereon. If the review of six-monthly progress report submitted by the Fellow results in a finding that the work done is unsatisfactory and if the NSC is of the opinion that further grants need to be stopped or curtailed, then instruction would be given to the concerned institution accordingly. The fund flow to the Fellows should continue smoothly, otherwise.

14.1 Infrastructural support will be provided by the institutions to the Fellows to enable them conduct their research. This may include provision of a computer with peripherals and connectivity and working space in the institution’s facilities, to provide a congenial atmosphere to carry out research. Other facilities, like appropriate seating arrangements, library facilities, etc, will also be made available. One important advantage of these Fellowships will be the access of Fellows to national institutions for study and research material. In respect of foreign scholars engaged under this scheme, necessary political/security clearances from the concerned Ministries/Departments shall be obtained by Ministry of Culture. Heads of the concerned institutions will function as the nodal officers for all the Fellows working in the institution. In the Ministry of Culture, the Director/Deputy Secretary in-charge of the Scheme will function as nodal officer to monitor implementation of the Scheme.

14.2 Encouragement and financial support may also be given to enable the Fellows present papers at conferences hosted by the concerned institution or other related organizations and institutions, which will be met out /reimbursed, on ‘actuals’ basis, with a ceiling of Rs. 1.00 lakh per annum, provided adequate academic interaction is arranged for.

A Fellow will be entitled to Accommodation Allowance up to 30% of his usual pay, including Grade Pay or the honorarium paid.

A Fellow from outstation will be given a lump sum grant of Rs.1.00 lakh as settling in allowance for packing/transportation etc., of his personal effects from old station to the new station of his stay during the tenure of Fellowship, if he moves station or otherwise transports books and academic effects. Allowance of an equal amount will be given at the conclusion of the Fellowship for moving out of station. In addition, economy airfare from his/her place/country of residence will be provided/reimbursed on joining and on conclusion of the Fellowship.

A Fellow shall be required to:-

(a) Deliver one public lecture per annum on the subject of his research

under the Fellowship.

(b) At the conclusion of his term, the Fellow will have to submit a Report on the work carried out under the Fellowship, indicating the achieved and the expected output. He/she will also have to make a presentation on the outcome of his/her research to the NSC.

(c) The concerned institution will publish the research work of each Fellow

at the completion of the project. The rights of the research work resulting from the award of the Fellowship will be owned by the institution. Subject to the issues of copyright, the academic output resulting from the work of the Fellow in association with the national cultural institution would be made public also through the internet/web publishing.

(d) If the institution does not provide any support for the actual printing of the book, after completion of the Fellowship, it will be open to the Fellow to get the same published through a private publisher duly acknowledging the contribution of the Ministry of Culture and the rights of the concerned institution.

Once awarded a Fellowship, a candidate cannot apply again either at the same or any other institution covered under this scheme.


Friday, November 6, 2009

From the ancient times till today, coffee houses across the globe have been, very often, the cradle of creativity, ideas and even revolutions

From the ancient times till today, coffee houses across the globe have been, very often, the cradle of creativity, ideas and even revolutions. But, it’s an irony that women have seldom been a part of such gatherings. Against such a backdrop, the just conducted women writers’ meet at the Coffee House Creative Corner (CHCC) in the Capital on Sunday was a welcome initiative. CHCC that hosts weekly gatherings on all Sunday evenings at the busy Old Bus Stand across the Market Building with a host of writers, artists, dramatists and even film and media persons decided to celebrate its golden jubilee session with Kabita Kallolini, an assembly of women writers who recited their poems that received rave response from literary circles. Following inauguration by eminent poet Rajendra Kishore Panda who maintained that “each poet is a woman for the ability to create”, 16 poets recited their poems while actress-dancer Prativa Panda anchored the event. Most of the poems were lucid and honest expressions of the woman’s mind – her dreams and dilemma – penned in first person and with an autobiographical undertone. Celebrated poet Banaja Devi’s poem described how the writer looks back at her life at times and ponders if she should calculate all that she has got or lost for that matter. Similarly, Susama Mishra, in her poem penned in a lighter vein, narrated the fast changing habits of women from her mother’s generation down to her daughter’s. Known as an established essayist and critic, Professor Sanghamitra Mishra surprised the audience with her touching poem that inspires the girl to look up straight suggesting women empowerment. However, in style of recitation and content, Runu Mohanty’s poem Sufi geet was a class of its own that eulogized women’s emancipation and left a lasting impression on the audience. Jyotsna Das was the other writer whose poem about a woman writer fondly remembering her beloved man amidst her various roles as a housewife, excelled in craft and content. A pleasant surprise was short story writer Shanti Mohanty who revealed her talent as a lyricist and a singer of high order. And city-based Hindi poet Rashmi Dhawan added a distinct flavour to the recitation session as the lone non-Oriya poet. Among others, Minati Mishra, Sunanda Tripathy, Jayanti Rath, Sunanda Mishra, Rajani Ransingh, Minati Das, Sailabala Mohapatra, Jayanti Padhiary and Purnima Nayak recited their poems. The audience comprised several eminent writers like Sourindra Barik, Adhyapak Biswaranjan, Jyoti Nanda, Adikand Sahoo and Prakash Mohapatra besides noted theatre personality Asim Basu. CHCC conveners Suresh Balabantaray and Akshaya Behera, both writers, addressed the gathering.
Shyamhari Chakra
Source: The New Indian Express

Tuesday, October 13, 2009

Lalitkala Regional Secretary Ramakrishna Vedala said that two young and acclaimed sculptors of the State – P.Bujinga Rao and Kanta Kishore Moharana

BHUBANESWAR: As part of its annual programme of art awareness, city-based Regional Centre of Lalit Kala Akademi, the national academy for fine art, would host Kaladhara – a series of events – commencing on Thursday (October 15). Regional Secretary Ramakrishna Vedala said that two young and acclaimed sculptors of the State – P.Bujinga Rao and Kanta Kishore Moharana – will speak about their works and experiences on the centre premises in Kharavela Nagar on Thursday evening.

“Besides senior artists, we receive a good number of young artists and students of the art colleges in the Kala Pragati and Kaladhara series of art awareness and art appreciation activities at the centre,” said Mr. Vedala. On Friday evening, Durga Prasad Das, former principal of the prestigious Government College of Art and Craft (GCAC), will deliver a lecture on eminent sculptor Bipra Charan Mohanty who passed away recently. Mohanty was the founder-principal of the half-century-old GCAC and was the recipient of Dharmapada Award.The centre will soon announce details of the events slated for the year; Mr. Vedala stated and added that no entry pass was required for the public.
Source: The Hindu Tuesday, Oct 13, 2009

Tuesday, September 15, 2009

Our surrounding and social concerns have always motivated us to a new high. Kanta Kishore is no exception

Kanta Kishore has picked the popular slum with a different perspective that essentially deals with the core of the subject

Kanta Kishore Moharana represented by Ashok Art Gallery Delhi

Slums in Neighbourhood

Artists are exploring new media and techniques to convince the viewer in the present day. The range of subjects that the artist deals with today is intriguing and relevant. Indian art seems to have transformed from modesty to market and the journey has been interesting too. The turning points of art here depend heavily on the attitude of the artists and what we have noticed is the increase in the intellectual input with passing time. This has carried us forward from the agreement of the narratives in mythology and epics to negotiating society to human awareness of several factors. Our surrounding and social concerns have always motivated us to a new high. Kanta Kishore is no exception.

Kanta Kishore has picked the popular slum with a different perspective that essentially deals with the core of the subject. The effort by the dwellers to construct the beautiful and magnificent in the city remains in the most neglected part of the earth. Their struggle for existence depend on adversities of life and in the process, they sometimes smile up to their success, which is rare, and rest of the times, lament over their survival. In all these conditions, a pair of sleepers perhaps allows them to retain the honour of human while addressing the rough patches leading to life. The chaos of arrangement also depicts the lifestyle of people inhabit. However high or low they might go individually but collectively they remain intact to the nails that bind them to the ground. The insiders story of constructing a world imagined for the other rightly develop the concept of living.

The composition has deliberately caught our concern for the slum and its dwellers. The symbolic is apparent, expressive and transformed; it suggests the simplest of material in high coordination with installation art. The painting complements to the installation by making it look obvious and illustrative. Kanta Kishore has seemingly taken a defensive position in portraying the subject though several aggressive pointers are available to us. The approach to the subject is worth admiration. The awareness to uplift the downtrodden needs more application both politically and socially. The change is coming at a slow pace and it would appear significantly in future. The makeover through the artistic expression is to the concern is remarkable.
Sculpture Review by Dr. Pradosh Kumar Mishra(Art Historian)
Watch out for this growing talent in Art Expo India: Kantakishore Moharana

Tuesday, April 21, 2009

AlumniBKCAC organized a sketching workshop in the foothill of Khandagiri in Bhubaneswar on the eve of Odiya Nava Varsha (New Year) celebration

AlumniBKCAC organized a sketching workshop, as its second event in the series of Silver Jubilee celebration of the Bibhuti Kanungo College of Art & Crafts, Bhubaneswar. The workshop was planned in the foothill of Khandagiri in Bhubaneswar on the eve of Odiya Nava Varsha (New Year) celebration in the sculpture studio of Saroj Bhanja, a young and enthusiastic sculptor. This workshop was a gathering of the old students and present young artists to develop harmony and co-ordination amongst each other.

The event began with a congregation by the artists that was formally introduced by the president of the alumniBKCAC Adwaita Gadanayak. Subrat Mullick, the secretary of alumniBKCAC vividly projected the programmes that are scheduled to take place through out the year. Sculptor Anjan Kumar Sahoo, joint secretary AlumniBKCAC, invited constructive suggestions from all members, who were present, to make Silver jubilee celebration an extraordinary and special. AlumniBKCAC Executive member Ashok Nayak, who is director of Delhi based Ashok Art Gallery has updated about construction of organization website which is running as beta test now, the members were informed that it would be back with a new and attractive look with lot more features and interactive options. and it will lunch officially on the month May. Another alumni Durga Patnaik has mentioned about a proper documentation of all alumnus in college register which will provide a right information to all the students and as well as to visitors. Executive member M. Sovan Kumar informed about his Mega Art Exhibition project that is coordinated by him for the silver jubilee project.

The formal discussion was followed by a workshop of drawing and painting, wherein the artists present participated. These events were regularly organized and managed by the local alumni in order to make a meaningful presence in the contemporary art field. The events might just seem usual but they carry the emotion of the former students and their commitment towards the art college that has nurtured them to achieve the present feet. This workshop and interaction turned successful with the presence of Kamalakshya Kanungo, Subhranshu Panda, Meenaketan Patnaik, Shyama Prasad Tali, Lipishree Nayak, Ashok Nayak, Rabinarayan Sahu, Saroj Bhanja, Siba Prasad Patri, Rajiv Pradhan, Debadutta Naik, Niroj Satapathy, Harekrushna Ojha, Lalata Kishore Pradhan, Divya Ranjan Rout, Subhadarshi Swain, Lalit Swain, Gautam Sahoo, Satyajit Das, Manas Moharana, Kanta Kishore Moharana, Biswa Ranjan Kar, Satabhama Majhi, Nilanshu Bala Sasmal, Chanda Kishore, Chandra Sekhar Sethi, Smrutikanta Rout, Somanath Rout, Abakash Martha, Gopal Krushna Rath, Niranjan Mangaraj, Niranjan Ojha and Sukant Moharana.

The event was convened by Veejayant Das, member of the alumni and Pratap Jena, Executive member of alumni. The space was provided courtesy Saroj Bhanja which literally fused the environment with artistic ambience.

Monday, April 13, 2009

Nua Barasha - Nua Katha, an open discussion forum on Oriya New Years Day

Dear All
AlumniBKCAC invites you to celebrate Oriya New Year on 14th April 2009 at Saroj Bhanja (Bhanu) Studio
Address: Kolathia Chowk, Near Andhra Bank Khandagiri, Bhubaneswar. from 3pm to 7pm
Wish you and your family A Happy n prosperus oriya new year 2009


Thursday, April 2, 2009


On the occasion of Utkal Divas the alumni BKCAC decided to begin its Silver Jubilee event with Chitra Murchhana: a workshop for students, teachers and friends of BK College, where the 100 feet canvas was commonly painted by the artists on site at the college premises. This event was formally inaugurated by Shri Bijay Jena, Commissioner, Ministry of Culture, Government of Orissa in the presence of Dr. Alekh Charan Sahu, Principal, B K College and Shri Adwaitya Gadanayak, President and Shri Subrat Mullik, Secretary, alumni BKCAC.

100 ft canvas has been streached in the morning of 1st april, more than 200 orissan artists expressed their feelings on this proud moment, senior artists Siba Panigrahi, Kashinath Jena, Gauranga Bariki were part of the event, B.K. Art college current principal A. C. Sahu, Lecturer Jayanta Das, Gajendra Ku Padhi, Meenaketan Pattnaik were also there, Alumni BKCAC president Adwaita Gadanayak, Secretary Subrat Mullick, Joint Secretary Anjan Ku Sahoo, Treserur Tarakant Parida, Executive member Pradosh Mishra, Pratap Jena, Prabir Dalai, Ashok Nayak, Priyadarshini Mohanty were amongst all other present. Senior AlumniBKCAC Vruguram Sahu, Deba Rath, Rajendra Sahu, D.B. Rao, Kamalakshya Kanungo, Janapriya Debata, Rabi bhai, Manjushree, Rosi, Bidutlata and other alumni were there.

The beginning of the event was marked by a chorus of Vande Utkala Janani by young children that impressed the audience. The first event by the alumni BKCAC on the 1st of April, 2009 the independence day of Orissa thus became meaningful and would keep the artists inspiring for long time to comoe.

Tuesday, March 31, 2009

On the occasion of Utkal Dibas, the alumnibkcac is organising a sketching workshop Chitra Murchhana, at Bibhuti Kanungo College of Art & Crafts

Bibhuti Kanungo College of Art & Crafts, Bhubaneswar, has completed 25 years of its inception. In these twenty five years the college has produced number of students those have brought laurels to the institution through their extraordinary achievement in the field of fine arts. It was the BK College of Art &Crafts that brought in tremendous change in the area of art education in Orissa. It could never have been possible without its dedicated teachers, who besides being great artists proved to be the best art educators. The students in these years have been linked to the college in various capacities, some serving the college as teacher, at present and some are visiting faculties in the post graduate courses, while some are still living in the nostalgia.

In order to participate in the celebration of 25 years, the alumni of the college got together under the aegis of alumnibkcac, to celebrate the silver jubilee event with extensive programmes throughout the year 2009-10. The events, which are presently planned, range from film shows, exhibitions, art interactions, symposium and an international conference on Teaching and Learning in Fine Arts: Pedagogic Challenges among many other short events. Besides these the alumnibkcac has also planned to financially support the upcoming young artists those aspire to grow and need proper guidance and direction.

On the occasion of Utkal Dibas, the alumnibkcac is organising a sketching workshop Chitra Murchhana, at Bibhuti Kanungo College of Fine Art & Crafts, Bhubaneswar on 1st of April 2009. In this event, the old students, present students, teachers of art colleges, connoisseurs and art lovers of the city will participate to mark the occasion. The alumni firmly believe in spreading the aesthetic understanding of the common into extraordinary experience. This is one of the ways; one could involve and interact with the public in meaningful manner, above all the society too needs to develop a taste for the art. The alumnibkcac also is planning to bring to the city, public art as a part of the silver jubilee events and redefine the state of art in Orissa. In recent months artistic activities have proportionately grown in Bhubaneswar and alumnibkcac has contributed substantially to it.

Come, let us join together, the artists and the common man, though we may not build another Konark, but we could dare rebuild and represent our own great tradition of aesthetic value that mark our identity.
Vande Utkala Janani.

Tuesday, March 10, 2009

Strike ends at Utkal University of Culture

BHUBANESWAR: The city-based Utkal University of Culture is set to re-open on Monday with the withdrawal of the ongoing strike by the staff and the students on Sunday. This development is a follow-up to the resignation of the Vice-Chancellor Sadhu Charan Panda earlier this week.
While the employees of the University had gone for a pen-down strike since January 3 pressing for a “fair deal” from the authorities, the students locked the campus since February 2 demanding due infrastructure, study environment and resignation of the Vice-Chancellor against whom they had levelled a series of charges.
The agitating students have further met the Governor and the UGC chairman in New Delhi over the matter.
Utkal University of Culture students’ union president Kanta Kishore Moharana told The Hindu that the union leaders were invited by the Commissioner of Culture and the registrar of the university on Saturday for a discussion that resulted in withdrawal of the strike. 18 demands
“We have 18 demands and we have obtained a written assurance from the university authorities that they would meet those demands,” he added.
Similarly, the Commissioner and the registrar held a separate discussion with the employees on Saturday following which they agreed to resume their duty on Monday, the leaders of the employees union said.
Source: The Hindu

Tuesday, February 10, 2009

Art and Culture News Orissa : Students of Utkal University of Culture locked main gate

Report by Dipti Ranjan Kanungo; Bhubaneswar:

The students of Utkal University of Culture locked the main gate of the University on Monday demanding basic facilities like permanent faculty,own building, and classrooms, instruments for practical subjects and hostels etc.

The students adopted the protest in a different way . They came with musical instruments and sang song s in front of the university gate.They alleged that the Vice-chancellor has not been doing any developmental work of the university and demanded his removal from the post immediately.The funds of the university has been misutilised and mismanaged with the knowledge of the Vice-Chancellor. The university is running on signboard only.Temporary employees of the university are also sitting on indefinite dharana in front of the university gate along with the students.

President of the students association Utkal University of Culture Kanta Kishore Moharana said “ This is the high time for the government to take immediate steps to revive the university.”
The Registrar of the University Hara Prasad Patnaik said “ some of the demands of the students are genuine.The university must have minimum academic atmosphere.’
Orissa film awards for 2007 announced; Jayadev Award for Ramchandra Pratihari
Report by Suchismita Sahoo; Bhubaneswar:
Orissa Government today announced state film awards for 2007. It was announced by Culture minister Surya Narayan Patro here on Sunday. Versatile actor Ramachandra Pratihari would be conferred the prestigious Jayadev award, regarded as the highest honour for cinema in Orissa for his outstanding contribution.The best film award of the year has been bagged by Dhauli Express, which also won awards for best music, best male playback singer and best art direction. Tumaku Paruni ta Bhuli directed by Chakradhar Sahu won the highest number of awards for best direction, best actress, best lyrics, best supporting actor and special jury award. Sabyasachi was adjudged the best actor for Pagal Premi , while Ameli bagged the best actress award for her performance in Tumaku Paruni ta Bhuli . The best music director award was bagged by Chittaranjan Tripathy for his music in Dhauli Express. The awards are scheduled to be presented at a function on February 13.

News Source: orissadiary

Thursday, February 5, 2009

AlumniBKCAC organises young painters show at barbil

You are cordially invited to young painters show at Barbil Keonjhar from 6th to 8th.feb.2009
Have a Creative Day!!
Visit our website
P.S. BKCAC stands for Bibhuti Kanungo College of Art and Crafts

Tuesday, February 3, 2009

Pradosh Mishra and his Doctoral research on Emerging Trends in Contemporary Indian Painting

Associate Professor, Department of History of ArtFaculty of Arts,
Banaras Hindu UniversityVaranasi-221005
Topic of Doctoral Research
Emerging Trends in Contemporary Indian Painting during 1990 and 2004: A Study in the perspective of Globalisation and National IdentityArea of SpecialisationContemporary Indian Art, Traditional Sculpture Workshop in OrissaFieldworkSince 1994 documenting living and working conditions of Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri in Orissa and Mathura.
Seminar Participation and Papers presented

Contemporary Indian Art: New Imagery and the Question of Identity, paper presented in absentia in NAFA Symposium on New Asian Imaginations, Singapore, 2008Possibilities of Lacquer in Contemporary Art as a medium: New Dimensions, National Seminar on Lac in Indian Art and Culture, Balasore, Orissa, 2007The Living Tradition of Stone Carving in Orissa: Texts and their present Relevance with reference to Master Artist Khirod Chandra Maharana of Lalitagiri, National Seminar on Silpa Texts and its Relevance, Jnana Pravaha, Varanasi, 2003Shift in Stone Workshop Practices- a case study in Lalitagiri, National Seminar on Art Practices in India Today, Bhubaneswar, 2001Traditional Linkage in Contemporary Orissan Art: Towards a Regional Vocabulary, National Seminar in Millennium Multimedia manifestation, Bhubaneswar, 1999Concept of time in Dancing Sculptures of Konarka, International Symposium on Sculpture and Dance, Varanasi, 1999Urban Experience of the Contemporary Artists of Orissa with reference to Working Artists Association, National Seminar on Urban Image in Contemporary Indian Art, Faculty of Visual Arts, BHU, Varanasi, 1998
Himalayan Landscape Painting by some Contemporary Indian Painters: An Observation on treatment of Space, National Seminar on Himalayan Glory, Allahabad Museum, Allahabad, 1998Participated as an Observer in the National Seminar on Terms and terminologies in Indian Art, Lalit Kala Akademi, New Delhi, 1994Primordial Influence on the Paintings of some Contemporary Painters of Orissa, National Seminar on Primitive Vigour as a part of Festival of India to Moscow, Lalit Kala Akademi, New Delhi, 1991Importance of Art Education in Primary Schools in Orissa, State Seminar on the Status of Art Education in Orissa, Bhubaneswar, 1989Contemporary Art Situation in Orissa, National Seminar on the Contemporary Art and Artists of Orissa, 1988

Awarded by Orissa Media Centre, Sunanda Pathy Foundation and Bhubaneswar Sahitya Samaj for Art Historical Studies and Art Criticism in Orissa, 1997State Award for Painting, Working Artists Association of Orissa, Bhubaneswar, 1997Chhanda Caharan memorial State Award, 1997Award for Best Painting and Cartoon in Panjab University, Chandigarh, 1994
Exhibitions Participated: Working Artists Association, OrissaState Lalit Kala Akademi, OrissaRashtriya Kala Mela, BangaloreRegional Art Exhibition, BangaloreState Level Art Exhibition by All India Fine Art and Crafts Society, New DelhiBeyond the Shores, Rabindra Bhawan, New DelhiSpring is Not Over, Punjab Lalit Kala Akademi, Chandigarh
Solo Exhibition : WASH, Watercolour Painting Exhibition held at Hotel Oberoi and Hotel Kalinga Ashoka, Bhubaneswar, Orissa
Pradosh Kumar Mishra received his education in Bhubaneswar, Chandigarh and Varanasi. He completed his Doctoral research on Emerging Trends in Contemporary Indian Painting, a Study in the Perspective of Globalisation and National Identity from 1990 to 2004.He has produced an audio-visual documentary on Two Contemporary Painters of Orissa for National Lalit Kala Akademi, New Delhi in 1993, and has extensively documented various living Master Artists, their behaviour and attachment to the traditional stone carving workshops in Lalitagiri, Bhubaneswar, Puri and Mathura in Orissa (India) under the project Workshop Tradition of Orissan Sculpture from 1994 to 2000.Mishra also co-authored a monograph entitled Chandrasekhar Rao: Life and Work, published articles on Contemporary Art in publications entitled Bronze (2006), Let a Thousand Flowers Bloom (2001), Oddiyan (1997), Beyond the Shores (1995), and Tribal Art: Primitivism and Modern Relevance (1990).He has presented papers at several national seminars on art historical studies and participated in an international symposium on sculpture and dance, organised by Ram Chhatpar Shilp Nyas (1999), and Art Interaction, organised by Indo-German Art Forum (2003) at Varanasi.
Pradosh Mishra is an alumni of BKCAC and he is working as a Exceutive member of the organization
City Office : Plot-132 1st Floor,Forest park, Bhubaneswar, Orissa, India, Pin-751009
Campus Office : B.K.College of Art and Crafts,Tapovana,KhandagiriBhubaneswar, Orissa, India, Pin-751030

Friday, January 30, 2009

Adwaita Gadanayak: The Commonwealth Scholar

Adwaita Gadanayak
Adwaita Gadanayak
BFA: B.K.College of Art and Crafts, Bhubaneswar-89
MFA: Delhi College of Art, New Delhi-92
Post Graduate: Slade School of Fine Art, London -95
Scholarship: Commonwealth -93
The installations in this Triennale which observed the norms of art and not flouted them, were those like the ones by the sculptor from Orissa, Adwaita Gadanayak, in a work titled Soul, a genuine piece where full justice would seem to have been done to a hallowed word. Here potent idea and the created image were finely, very precisely dovetailed, in order to build up a convincing metaphor…Keshab Mallik

Gandhi Musuem, New DelhiAmong the outdoor displays, a full-scale replica of Hriday Kunj, the residence of Mahatma Gandhi and his wife Kasturba in Satyagraha Ashram at Sabarmati where they lived from 1918 to 1930, the seated sculpture of Mahatma Gandhi, Adwaita Gadanayak's black marble stone of Mahatma Gandhi followed by some of the Marchers on the famous Salt March and the replica of famous Bose's woodcut 'Walk Alone' carving in cement are surely a feast for the eyes of visitors.
Adwaita Gadanayak is an alumni of BKCAC and he is working as President of the organization.
City Office : Plot-132 1st Floor,Forest park, Bhubaneswar-751009
Campus Office : B.K.College of Art and Crafts,Tapovana,KhandagiriBhubaneswar-751030 Web :
Ashok Art Gallery is proud to be a part of this Silver Jubilee Celebration

Pratul Dash, alumni of BKCAC

Pratul Dash
Bachelor of Fine Arts, B.K. College of Arts & Crafts, Bhubaneswar, India, 1995
M.F.A (Painting), College of Art, New Delhi, India, 1998Important scholarship :2004 UNIDEE in residency
Born: Burla, Sambalpur, Orissa

The Horror Show is an installation against violence. The viewer is invited to sit down at a table and browse through the images in a photo album. The photos are, however, not of the kind we are used to finding in somebody's home, but depict victims of massacres and wars. From hidden speakers in the room we can hear people crying and suffering. The sound was recorded on location in Nepal, but has been distorted with the help of Peter Verwimp in order not to belong to one particular place, but to be universal. These issues are not only confined to Nepal, India or the Middle East, it's something that concerns all of us, everywhere. Next to the photo album, the viewer can find paper and pens and write down his/her opinions on the matter. Pratul will later send these letters to the UN.Pratul has also worked on a proposal for the design of Illy Cafe coffee cups and plates. The cups and plates are decorated with photos of the thumbs of people from different classes of society, of different colours, religions, professions, and so on. The cup of coffee therefore becomes a meeting-place where social aspects are no longer relevant and Pratul hopes it will help to bridge the gaps between people.
He has also been thinking a lot about the relationship between architecture and human beings. All buildings have their own history and he's interested in studying how we react to it.The works done during Pratul’s formative years exemplified his existential dilemmas in a sharper way. He made his self portrait in various postures, at times going to the levels of contortionism. These portraits were seen against the backdrop of barren lands and abandoned city scapes. The sparsely inhabited cities become a metaphor for him to emphasize his angst as a lonely man who traverses through un-chartered paths. The egg shaped forms, or melting ice forms blown up beyond the point of reality gagged his portraits that forced him into a struggle of muteness. He vocalized his concerns through these mute and mutant images.His sustained interest in postmodern theories and various articulations of these has taken Pratul Dash to make a lot of works on paper also. His water colours deal with the particularities of an urban space; especially the displacement of the self and body in relationship with the animal imageries that are seen quite unnatural in the naturalness of the urban aloofness. The animals that abundantly come to play a dominant role in the pictorial renditions of Pratul Dash underline the unnatural existence of the human beings within the alienated modern and post modern urban locales.A series of paintings on contortionism has helped Pratul to bring in his observations on the dilemma of contemporary lives. Also the recent video works that he had done when he was in Italy and later in New Delhi show his engagement with the spaces of commodities and commodification. Extensive footages of malls and mannequins are edited skillfully to create a hyper reality that corresponds to the erotic and ethical instincts of the consumer man. These videos function as a field of retrospection and introspection rather than an active critique on accentuated consumerism.
One of his video works that Pratul has specially prepared for his major solo exhibition shows the artist in his native village in Orissa. He is seen in an act of tying himself with a thread, which could be a sacred thread that demarcates his caste position, around his head and face. The violent action with which he ties himself turns his face into a distorted mass and the untying of the thread leaves a mesh of markings on the skin. It looks like a body drawing, using body as the medium and surface. Like a Chris Burden or Vito Acconci he inflicts pain on himself to eke out a meaning of affection, infliction and restoration.Pratul in his concept note on this work states: “One might get a strange sense of relief as the performance unwinds and the distorted image of the face gains balance. What remain are the marks of the string’s path of punishment and an extremity of detachment and peace in the end. It is a kind of come back for me in my native land.” This coming back (of a not so prodigal son) is substantiated by further enactment of the same action in artificial situations, edited and incorporated into the main body of the video work. Pratul Dash is a painter who cares for the environment and his fellow humans, and uses his canvas to voice his cares. Every work of art is a window to its makers’ beliefs — aesthetic, political, philosophical...whatever. In the case of Pratul Dash, that window is wide open. You can see Dash’s engagement with social and political issues affecting the country all over the canvases, photographs and videos .Large vistas of bare landscapes; geometrical blocks evocative of the concrete maze our cities have become today; scaffoldings, ladders and pipelines that seem to stretch into infinity — these are recurring tropes in Dash’s work, used to signal the paradoxes of urbanisation, of the country’s headlong rush towards Western-style development, leading to the depletion of forests and alienation of individuals. “I have nothing against the growth of the country, but my concern is with the cost of it,” Pratul Dash says.
Pratul says that during his stay in Nepal he could see the pain in the eyes of people. The day he got there he saw the news on TV about the massacre of a family. Pratul went the following day with an artist friend to scene of the crime, the only survivors were the mother and her two-year-old child. It was a shocking and difficult sight. He strongly believes that silence is not a solution to these situations and he has continued working on these matters to bring the issue in front of an international community and ask for our direct participation. Working at Cittadellarte has helped Pratul realise that it is possible to create networks and move art out of the galleries and into society. It's the artist's duty to deal with social issues. Besides many exhibitions in India, his works are exhibited at USA, UK, ITALY, HONG KONG and DUBAI.
Pratul Dash is one of alumni BKCAC and working as Executive Member of the Organization

My College, My City and My State by Jagannath Panda

Jagannath Panda, Bhubaneswar 2008
Today the field of art has become so vast that medium is no longer a barrier for an artist. Now art is not limited to conventional art and craft. Contemporary artists are versatile. They are adept at every type of art including canvas painting, video art (narrative and non-narrative) and sculpture (stone, wood, fibre, glass, etc).But as far as opportunities for artists are concerned, the scenario is bleak in Orissa.

The government is least bothered about art students' future so talented artists cannot go abroad for higher studies. If you're a traditional artist, somehow you'll survive here but if you're a modern artist you won't. Serious practice of art is missing here which forces good artists to migrate to other cities.Like, after completing graduation from BK College of Art here in 1991, I studied post-graduation in fine arts in MS University, Baroda. Then I moved to Delhi in 1995 and started practicing as an artist. Then again I went to London in 2002 to pursue MA in Royal College of Art by achieving INLAKS foundation scholarship. After returning from UK, I set up my own studio in Gurgaon. Had such facilities been here I would have preferred to stay in Orissa. My dream is to develop Bhubaneswar as a global hub for artists where international-level artists would come and interact with local artists. When it comes to contemporary art and new research in the field, we need an up-to-date centre having a library and facilities for holding workshops and events here. Now I am trying to develop a state of the art studio in Bhubaneswar and hopefully it'll come up within next few years.

'Gandhi's ideas have always influenced my work. His phylosophy always gives me the opportunity to create works for society, I thought I would explore Gandhi's physicality and philosophy against contemporary, urban structures by juxtaposing Gandhian idealism or optimism with darker reality,' Jagannath Panda said.New Delhi has become a kind of place for artists from across the country and to work here is not only a challenge but also a privilege. Art is a very important segment. Artists contribute considerably for development of the aesthetic culture of a state. History says, governments or connoisseurs of art did always patronage artists.Times are changing, so also the mindset of people as well as government towards art. A case in point is beautification of Bhubaneswar. It shows the positive attitude of the government which has started giving priority to art and heritage. But we need to deal with such things delicately. Some serious intellectuals, architects, designers and artists should have been involved it, to make it a planned and better way like Bindusagar.But job opportunities for artists are very poor in Orissa. Small jobs like screen painting, design units and part-time jobs are only available. In the last quarter of 80's art teachers' posts were abolished. Lectureship is deemed to be the best job in our field but new colleges are not being set up and posts are not created, neither vacancies are filled up. Even if foreigners are visiting regularly Orissa only through this beautiful city Bhubaneswar and in the name of beautification people are just giving it a more and more ugly look, our city will say all about us, if a visitor comes from outside. That so we guys who are passed out from B.K.College have formed an oranigation named AlumniBKCAC. We all has a dream to bring our college, city and state in national and global platform regularly.We are planed out some initial projects , one can find by browsing

There are six to seven art colleges in Orissa, out of which only two are government. There is not a single art university here, I will never admit this culture university as an university. I have abashed when visited it recently, nothing is there to claim as an university. Existing colleges need to be upgraded, global model should be adopted in art education. Facilities, infrastructure should be upgraded in art institutions. Time to time evaluation should be done to improve curriculum. Aesthetic art, architecture, design and craft should be properly presented. Serious institutions should be there to promote local art and craft. Local aesthetics, local culture should be taught to students at school-level. School students should be imbibed these things.The government should give a serious look into this in view of the fact that demand is rising in the field and more students are opting for art as a career.

Jagannath Panda is an alumni of BKCAC and he is working as
Vice President in organization.


B.K.College of Art and Crafts and its 25 years in Orissan Art

Bibhuti Kanungo College of Art & Crafts, Bhubaneswar (BKCAC) was established in January 1984 with an intention of fostering and disseminating contemporary art of Orissa. The college was responsible in reformation of art education in Orissa by introducing the students to the national exhibitions, both inward and outward, engaging them to intensified exposure; organising workshops of artists and art historians of repute and inspiring intellectual exchange; providing space for the young generation artists to operate in several Clubs, like the sketching club, walking club and thereby introducing them to the existing monuments of Bhubaneswar. The first experiments of art and poetry, art and music were organised by the college to provide range to the creative faculty of the art students. The attempt was noble and intentions were clear- to make Orissa contemporary art visible on the global perspective.The effort of the teachers and students in the inadequate space dreamt of a new world, which deals with innovation and realisation. The integrated conviction has brought the BKCAC through these twenty five years. In these years there have been ups and downs but the nuance and vibe of the associates has remained intact. Besides national and international awards the students have dissolved the boundaries and attained honour by receiving fellowships from INLAKS, Commonwealth, Japan Foundation, Chinese Government Scholarship and several other awards. The achievements are due to the education that moulded the minds of the students.The college is completing its twenty five years in 2009 and to mark the occasion, the alumni of the college are organising a silver jubilee event (spread over several days) in the college premises at Bhubaneswar, Orissa. The programme of the events is being finalised and the objective of the event is to focus the contribution of the BKCAC to Indian Contemporary Art and to introduce the potential of art students and young artists of Orissa to the global programme in ART. The events include international and National artists participating in workshop and deliberation, spread over three days; audio visual projection of a documentary on the BKCAC; Artists interaction in the global level. In short it projected to be a mega event, involving people from every walk of life. This event would significantly contribute to the development of Contemporary art.
Ashok Art Gallery is proud to be a part of this grand silver jubilee event
Present Address : Plot-132 1st Floor,Forest park, Bhubaneswar-751009
Campus Office : B.K.College of Art and Crafts,Tapovana,Khandagiri,Bhubaneswar-751030
Web :

Alumni BKCAC

The Executive Body of the organization will consists of the followings for present and the persons may change from time to time as and when required.
1.Shri Adwaita Gadanayak
B-404, Vidyut Apartment81, I.P. ExtentionNew Delhi-92
2.Shri Jagannath Panda
C-30, G/F, Sun city, Sector-54, Gurugaon, Haryana
3.Shri Subrat Ku. Mullik
Lecturer, B.K. College of Art & Crafts, Bhubaneswar-751030
4.Shri Anjan Ku. Sahoo
Village- SampurPlot No.7449/1388Near S.O.S. VillageGhatikia, Bhubaneswar.
Joint Secretary
5.Shri Tarakanta Parida
132, Forest Park, Bhuibaneswar
6.Shri Anup Chand
Flat No.301, Plot No.221, Gyankhanda-I, Indrapuram, Gaziabad, U.P.
7.Shri Pradosh Mishra
L-4, Warden’s QuarterJodhpur ColonyBHU, Varanasi,U.P.
8.Shri Ashok Nayak
I-24(A), Subhash Chowk, Laxmi NagarDelhi-110 092.
9.Shri Prabir Dalai
Lecturer, Dhauli College of Art & Crafts, Near Dhauli Santi StupaBhubaneswar-751002
10.Shri Pratap Jena
Qrs. No.8, Type-II, 2nd P & T Colony, Vanivihar, Bhubaneswar.
11.Shri Pratul Dash
S.F.-4, Siddhi Vinayak Apartment, Abhayakhanda-III, Indrapuram, Gaziabad, U.P.
12.Shri Nigamananda SwainInstructor, Government College of Art & Crafts, Khallikote, Ganjam
13.Shri M. Sovan Kumar
1113, Basista Nagar, Old Town, Bhubaneswar
14.Shri Sangram Kr. Moharana
At-Mahura, P.O.-Retanga, Dist. Khurda
15.Mrs. Kabita Mohanty
SCR-10, Chandrasekharpur, Bhubaneswar.
16.Shri Jyoti Panigrahi71, Ist Floor, Vigyanlok, Delhi-110 092
17.Shri Sudhansu Sutar
J-2/46, DLF Phase-II, Gurugaon, Haryana-2
18Shri Dillip Ku. Tripathy
Lalit Kala AkademiRabindra BhavanNew Delhi-110 001.
19.Priyadarsiini Mohanty
20.Rashmirekha Panda
Central School,SalwaKharagpur, West Bengal