ART IN REVIEW; Atul Dodiya

By Holland Cotter | New York Times

The centerpiece of Atul Dodiya's haunting New York solo debut show is an installation titled ''Broken Branches,'' composed of nine tall, glass-fronted wooden cabinets. Each is filled with well-worn objects, including photographs, tools, human bones and handmade prosthetic limbs.


The tools belonged to this artist's father, now dead, a building contractor who in 1938 moved from the Indian provinces to Bombay to establish a more prosperous business and a new home for his family. Other items -- a 1970's photograph of the Arte Povera artist Mimo Palladino in Manhattan, for example -- relate to Mr. Dodiya's development as an artist with an international presence, as does the vitrine format itself, which has associations with Joseph Beuys.


2 May 2003