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Question 1 of 13

1. Question
1. Socio-cultural biases and urban-rural divides often result in the major exclusions — of art practices and practitioners from marginalised rural and indigenous communities, across lines of gender, caste and class — from the canon of Indian art.
- True
- False
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Question 2 of 13

2. Question
- 2. The Indigenous art form represented below is known as .
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Question 3 of 13

3. Question
1. Navjot Altaf creates site-specific and functional public art to communicate directly with the communities she works with and to bring social justice issues to public attention.
- True
- False
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Question 4 of 13

4. Question
4. Drag and drop the name of the artist to their corresponding artwork.
- Navjot Altaf
- J Sultan Ali
- Jivya Soma Mashe
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Question 5 of 13

5. Question
1. The Surrealist painting ‘My Dream World’ features fantastical iconography drawn from the artist’s own dreams. Who is the artist of this work?
- A. KCS Paniker
- B. KG Subramanyan
- C. K Ramanujam
- D. S Nandagopal
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Question 6 of 13

6. Question
6. What is the main objective of Navjot Altaf’s collaborative work ‘Nalpar’? You may select more than one answer.
- A. To construct a public pond for the village of Nalpar in Bastar
- B. To create a safe public space for women carrying water
- C. To revamp and beautify the village pump and drainage system
- D. To provide a local park for children to play, learn and grow
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Question 7 of 13

7. Question
1. How has Jivya Soma Mashe’s involvement with Warli changed the trajectory of the Indigenous art form?
- A. By expanding the traditional Warli vocabulary so that it could reflect shifts in society and speak to younger audiences
- B. By introducing popular mediums like poster colours on canvas and paper, making paintings easier to produce and disseminate
- C. Mashe’s fame and success encouraged men to pick up the art form, resulting in the displacement of women artists who are its traditional practitioners.
- D. All of the above
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Question 8 of 13

8. Question
1. The Madras School of Art and the Madras Art Movement were Eurocentric in their focus and principles, deriving inspiration from Pop Art and Abstract Expressionism.
- True
- False
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Question 9 of 13

9. Question
9. From the following painting ‘City Scene’ by Jivya Soma Mashe, what can we conclude about his interpretation of Warli and how it is different from the traditional form? You may select more than one answer.
- A. His stylisation added a contemporary touch to traditional symbols and motifs.
- B. Alongside the distinctive simple lines of Warli, we can see the inclusion of new elements drawn from Madhubani paintings.
- C. He juxtaposed rural imagery from traditional Warli with contemporary subjects like trains and buses.
- D. All of the above
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Question 10 of 13

10. Question
1. ‘Soul Breath Wind’ is a work that highlights the social and environmental consequences of mining in Chhattisgarh. Who made this work?
- A. Jivya Soma Mashe
- B. Sultan Ali
- C. Shilpa Gupta
- D. Navjot Altaf
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Question 11 of 13

11. Question
1. How did the artist J Sultan Ali make his works ‘more Indian’?
- A. By working on portraits of eminent leaders from India’s freedom movement
- B. By collaborating with artists from Indigenous communities from across Chhattisgarh and Bihar
- C. By incorporating Tantric symbolism, mythical characters, Hindu deities and Indigenous women, rendering them in flamboyant colours
- D. By taking inspiration from the Ajanta cave murals and the rock-cut temples of Mahabalipuram
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Question 12 of 13

12. Question
1. What criticisms have festivals and residencies organised in Goa received?
- A. They prohibit non-Goan residents from attending the festivals.
- B. They are centred around the cosmopolitan elite
- C. Goan artists and their works have been overshadowed by the Madras movement.
- D. They sideline local artists and practitioners
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Question 13 of 13

13. Question
13. The exclusion of certain artists and art practices from canonical narratives is not unique to Indian art.
- True
- False
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Incorrect