1987U.S.Tom Watson5.48Scott Simpson0.045.44 Spieth isn’t the first golfer to experience an unceremonious meltdown on Sunday at a major championship; YouTube is littered with the bones of players snatching ignominy from the jaws of victory. That doesn’t make it any less jarring to see a player as good as Spieth, leading by 5 midway through the Masters’ final round, fresh off of one of the greatest seasons at the majors in modern history last year, fall apart in such spectacular fashion. And that he was beaten by Danny Willett, who had just one career top-10 finish at a major before this week, made Spieth’s defeat all the more stunning.In measuring Spieth’s performance in majors last year, I used “major shares,” a statistic that estimates how many majors a player would have been expected to win given his scoring relative to the field average in past majors. Fractional “shares” of wins accumulate over time for good players; the number is nailed right around zero for the also-rans. Going into the Masters, Spieth had 1.48 career major shares,1A few notes, since I tweaked the methodology a bit since last season: Instead of using z-scores, I’m now basing major shares on a player’s strokes above the field average in a tournament. (Research by Daniel Myers shows that converting those to z-scores needlessly adds statistical noise to a player’s rating.) I also listed two versions of major shares last season — one that adjusts for other performances in the field, one that does not — and I’ve averaged those together here. the 10th-most of any active player; Willett, on the other hand, had 0.01 major shares. That difference, 1.47 major shares, was the 17th-biggest disparity in résumés between a major’s third-round leader and the player who eventually overtook him since 1958.2Out of the 139 instances in that span where the leader after three rounds didn’t go on to win the major. In other words, there have been less likely candidates to come from behind, but not many. STROKES GAINED AGAINST FIELD 1997Tiger Woods+3.7+5.8+7.2+4.2+11.5+21.0 1977BritishJack Nicklaus12.50Tom Watson0.8511.65 2010Phil Mickelson+3.9+1.5+5.6+4.9+10.5+16.0 1985Bernhard Langer+1.2-1.3+6.0+4.8+10.8+10.6 STROKES GAINED AGAINST FIELD 1978PGATom Watson1.78John Mahaffey0.531.25 YEARPLAYERR1R2R3R4WEEKENDTOTAL 1978Gary Player+1.2-0.4+3.1+8.2+11.3+12.1 YEARPLAYERR1R2R3R4WEEKENDTOTAL Considering Spieth’s immense potential, the difference between the two golfers would likely have been even higher if Willett had pulled this upset later in Spieth’s career. Spieth is no Tiger Woods, but before Sunday, he’d developed a reputation for steadiness, particularly in majors. After he birdied the ninth hole on Sunday to go up 5 strokes, a third major — and second Green Jacket — in the span of 12 months seemed imminent. (Ken Pomeroy — who maintains a golf win probability feed on Twitter in addition to his indispensable college basketball stats site — gave Spieth a 92 percent chance of winning at that point.) Then, a pair of bogeys to give a few strokes back. Then, quadruple-bogey.But epic collapses such as Spieth’s are often accompanied by incredible comebacks. And for all the water-cooler chatter about Spieth’s disastrous final trip through Augusta’s back nine, Willett also had to play tremendous golf over the weekend, particularly on Sunday. In the final 36 holes of the tournament, Willett outplayed the field average by 9.4 strokes, the ninth-best weekend enjoyed by any Masters winner since 1958. And 5.7 of those strokes were gained against the field in Round 4 alone, representing the eighth-best final round performance by a winner since ’58. 2016Danny Willett+2.3-0.3+3.7+5.7+9.4+11.5 1995U.S.Greg Norman3.23Corey Pavin0.242.99 1989MastersBen Crenshaw2.09Nick Faldo0.851.24 2009PGATiger Woods10.85Y.E. Yang0.0010.85 2011Charl Schwartzel+2.0-0.5+4.1+5.7+9.8+11.3 2013U.S.Phil Mickelson4.58Justin Rose0.244.34 1994Jose Maria Olazabal-0.8+5.0+5.4+4.9+10.3+14.5 2008BritishGreg Norman3.45P. Harrington0.343.12 1995Ben Crenshaw+0.7+3.5+2.3+5.3+7.7+11.9 1986Jack Nicklaus-0.6+1.3+2.0+7.0+9.0+9.7 1965Jack Nicklaus+4.1+2.9+9.1+4.6+13.7+20.7 YEARMAJORPLAYERMAJOR SHARESPLAYERMAJOR SHARESDIFF 2016MastersJordan Spieth1.48Danny Willett0.011.47 LEADER THROUGH 3 RDSEVENTUAL WINNER SourceS: ESPN, Yahoo 1990MastersRaymond Floyd2.66Nick Faldo1.051.61 Best weekend performances at Augusta, 1958-2016 2016Danny Willett+2.3-0.3+3.7+5.7+9.4+11.5 1959Art Wall+0.8-1.6+1.8+7.4+9.2+8.4 1990Nick Faldo+1.1+0.9+6.6+4.2+10.8+12.8 1971MastersJack Nicklaus7.29Charles Coody0.097.20 1967Gay Brewer+0.6+5.1+1.7+7.2+8.9+14.6 1996Nick Faldo+2.1+4.8+0.8+6.7+7.5+14.3 1993PGAGreg Norman2.92Paul Azinger0.482.43 1973Tommy Aaron+6.0-0.5+0.2+6.1+6.3+11.8 Biggest major upsets since 1958 Few sports offer as much potential for dramatic, heartbreaking collapse as golf. Jordan Spieth learned as much on Sunday: 2009BritishTom Watson5.98Stewart Cink0.375.61 1984BritishTom Watson5.33Seve Ballesteros2.053.28 1989Nick Faldo+5.3+1.3-2.9+6.7+3.8+10.3 1985MastersRaymond Floyd2.22Bernhard Langer0.251.97 1987MastersBen Crenshaw1.84Larry Mize0.021.81 1983U.S.Tom Watson4.44Larry Nelson0.703.73 1986PGAGreg Norman1.60Bob Tway0.021.58 1978Gary Player+1.2-0.4+3.1+8.2+11.3+12.1 2005Tiger Woods-1.2+6.2+7.2+2.2+9.4+14.4 2006U.S.Phil Mickelson3.45Geoff Ogilvy0.033.43 2011Charl Schwartzel+2.0-0.5+4.1+5.7+9.8+11.3 2012U.S.Jim Furyk1.25Webb Simpson0.001.25 Best Sundays at Augusta, 1958-2016 The quality (or lack thereof) with which Spieth hit the ball at the 12th hole was shocking, but Willett’s weekend charge was also pretty historic. It took a combination of the two to generate a Green Jacket ceremony this awkward:
Indian Abstracts: An Absence of Form is a seminal exhibition that charts the development of abstraction in modern Indian art, featuring close to 70 artists. The exhibition brings together for the first time a vast body of work spanning a vast range of styles that have evolved in modern Indian art. The retrospective is an investigation into the evolution of abstraction in Indian art from the early 1950s till current times. Part of a continued series, Indian Abstracts is Delhi Art Gallery’s attempt to continue to document the richly diverse and many less understood aspects of modern Indian art. Also Read – ‘Playing Jojo was emotionally exhausting’Featuring three hundred and fifty works by over 60 significant practitioners of Indian abstraction, Indian Abstracts: An Absence of Form explores the eventful and unique journey of abstraction in modern Indian art. Indian abstract artists drew on a range of influences in their work – Western abstract art, in particular the works of artists such as Klee, Rothko, Pollock or Calder, East- Asian influences, and significantly, a range of traditional, tribal, folk and tantric art – for their techniques, themes and approaches. Also Read – Leslie doing new comedy special with NetflixThe exhibition features prominent and significant Indian abstractionists recognised for the maturity of their imagery such as – V S Gaitonde, S H Raza, Ram Kumar, Nasreen Mohammedi, Zarina Hashmi, Jeram Patel, Shanti Dave, Ganesh Haloi, Krishna Reddy, J Swaminathan and V Vishwanadhan. Additionally, it also brings together lesser-known abstract works of artists that are known for their fidelity to figurative or representative art – these feature artists such as M F Husain, Somnath Hore, Dharamnarayan Dasgupta, Benode Behari Mukherjee, Sunil Das and Rabin Mondal – their abstract works are a delight to behold and add significantly to our understanding of Indian modernism’s journey. An over 400-page, substantial volume of art scholarship will accompany this significant exhibition, featuring colour plates of artworks and scholarship by leading art historians examining the journey of the abstract in Indian art.Delhi Art Gallery presents this significant exhibition on Indian abstract art, at its premises in Hauz Khas Village. Art lovers don’t miss this!WHERE: Delhi Art Gallery, Hauz Khas Village WHEN: 10 August to 30 September
Renu Modi, Director, Gallery Espace, presents a solo show of terracotta sculptures and drawings by Delhi-based artiste Manjunath Kamath at Gallery Espace, Community Centre, New Friends Colony in the Capital from January 16 till February 28. Manjunath Kamath creates Modern Narratives out of Classical, Traditional Sculptures in his new body of work titled Postponed Poems. Postponed Poems is the aggregate of Kamath’s distinctive imagery rich with the narratives of everyday life, interwoven with mythologies and intimate stories. Also Read – ‘Playing Jojo was emotionally exhausting’Kamath’s collecting hobby of over 30 years forms the basis for understanding of his new body of sculptural work. The old and aged classical and folk sculptures holding the trace and weight of time becomes the subject for his work. The artiste is fascinated with the amazing forms of the past such as traditional temple sculptures, broken parts of old havelis, ritual masks and icons of god and goddesses. The artiste pours out his heart and soul and captures such antiques in terracotta sculptures. His works signify beyond the mere meaning of realistic representation, to becoming a kind of shamanistic process that honors aged things and elaborately traces the various lives and sensibilities inherent in the objects. Also Read – Leslie doing new comedy special with NetflixAt the same time, Kamath imparts his signature flavor of witticism in his interpretation of the secular, mythological and the historical. Hence, his terracotta sculptures in this show are inspired by classical aesthetics but turned into a modern metaphor replete with humor and satire.Says the 42-year-old artiste: “I have a great fascination for traditional classical sculpture and paintings from my childhood, and I still remember that I spent hours looking at those sculptures in temple chariots and on walls. The temples and churches are like art museums for me, and that was how I was introduced to art. I have spent hours with local craftsmen watching them make idols of Gods and Goddesses. Eventually, I even started collecting classical sculptures and paintings like ritual masks, wooden and metal sculptures, parts of temple chariots, old terracotta sculptures. It was natural then that I would want to bring the aesthetics of this classical style into my works but interpret them on my own terms. It is like reconnecting to our roots.”Kamath has been conceptualizing the show for the last 5 years, and the attempt to use classical influence in contemporary art was a challenge. Kamath is also showing paper works which include 30 small drawings, 9 small Indian miniature-styled paper works and 15 gold leaf portraits drawing reference from the Buddhist Thangka paintings.When: January 16 to February 28 Where: Gallery Espace, Community Centre, New Friends Colony
Amid much fervour and gaiety, Giriraj Singh, Minister of States (Independent Charge) for Micro, Small and Medium Enterprises (MSME) inaugurated the exclusive Khadi Pavilion of Khadi and Village Industries Commission (KVIC) at the 37th edition of India International Trade Fair (IITF) at Pragati Maidan on Tuesday. The theme of this one of the largest trade fairs for this edition is ‘Start-up India: Stand up India’.KVIC has set up over 100 stalls, in which various Khadi and Village Industries institutions from nearly all the states of the country are showcasing the most exquisite products created by the genuine fingers of rural artisans. This iconic annual event of India Trade Promotion Organisation (ITPO) would give a proper platform to the rural artisans to showcase their skills in the national Capital. Also Read – Add new books to your shelfExpressing happiness and enthusiasm, after formally inaugurating the pavilion, the MSME minister said that the commitment and zeal shown by the artisans and entrepreneurs indicate that the whole nation has taken the appeal and observation of Prime Minister Narendra Modi. “Only with this degree of dedication, we can follow our PM’s doctrine of ‘Earlier Khadi for the nation, then Khadi for fashion and finally Khadi for transformation’. Ministry has already chalked out some plans to brighten and enhance the artisans associated with Khadi and Village Industries,” he said. Also Read – Over 2 hours screen time daily will make your kids impulsiveCorroborating similar views, KVIC Chairman Vinai K Saxena said that with such an enthusiastic approach of artisans and entrepreneurs, Khadi and Village industries are all set to catch the show. “KVIC as a team will always try to yield the best results with its social commitment,” he said, adding, “We always try to stand as per the expectations and love of our PM for Khadi and village industries.”Secretary, MSME, Dr Arun Kumar Panda and noted fashion designer Ritu Beri were also present on this occasion. The much awaited, 37th India International trade fair (IITF) kick-started on November 14 with a participation of approximately 21 countries and 3000 companies. The ‘business days’ for the mega fair fall is from November 14 to 17 whereas, for the general public, the fair will be open from November 18 to 27. From November 18, the fair will be open to all visitors with a ticket price of Rs 60 for adults and Rs 40 for children. However, on Saturday and Sunday as well as any holiday between November 18 and 27, the ticket price for adults will be Rs 120 and Rs 60 for children.
Amelie Rorty, a renowned philosopher, established that the change of layers of personhood we adopt are assertive to different powers and politics, success and failure, freedoms and liabilities, and expectations in the intellectual and social spaces we inhabit. So the individuals make their own narratives of their lives that are best fitted in their own patterns of thought.The theatre group ‘Thealight’, has produced a play ‘Bhoy’ that showcases convolutions of self-contradictions of human selves triggered by changing social, political and ideological environments. The ‘contradiction’ generates different psychological layers in a human mind that creates innumerable dispersed identities in an individual. The ‘identities’ fight with each other to establish one’s relevance with time and fade away giving birth to a new self that ultimately overpowers the other. Also Read – Add new books to your shelfWritten in 2008, playwright Bratya Basu creates multiple identities within two characters (husband and wife) in the play and questions the morality and responsibilities in a relationship, situating them in the complex dynamics of contemporary political discourse. Basu uses the genre of a thriller and characters of ‘ghosts’ to traumatise Shuvankar as he discovers his contradictory and elapsed identities. The narrative thereby argues on the vicious gap between ideology and reality of Left politics in West Bengal along with issues of marriage, intimacy, and philosophy called life. Also Read – Over 2 hours screen time daily will make your kids impulsiveWhile ‘one’ Shuvankar criticises the changing nature of constitutional democracy and opportunism in politics, the ‘second’ Shuvankar finally admits to his unconscious desires in realms of sexuality and economic success. Even his wife Seema is forced to rethink about many unsaid and unrealised stains of relationships with her colleagues and friends besides her marital relationship with her husband. Later the opportunist ‘middle-class’ comes to the fore as a conglomeration of pretentious intellect and sticky inertness when both Shuvankar and Seema shrug off their ambiguous, controversial pasts nonchalantly and embrace their present selves in fear of being exposed further. Rajeshwari Nandy’s acting as one of the spirits draws a special mention. Blending her husky voice with a mannerism, she creates a ghost on stage with a passionate mind who dreams of an ideal world. Sandipan Chatterjee as Shuvankar, Sampa Das Sarkar as Seema and Pulak Roy as the manager contribute well to the production. Director Atanu Sarkar intelligently keeps it simple on stage as intense dialogues progressively elicit the essence of the play. The beginning of second half is done with style and precision. On a couple of occasions, the eerie feeling has sent shivers down the spines for sure. Sudip Sanyal with his reputable expertise makes the projection of light relevant and artistic. Prithwis Rana does fairly well in stage designing. The bearing of the playwright’s exploration of a phobophobia makes it so inescapable that the audience will inevitably take a plunge into it and will hanker to come out of it in the next instance.