RECENT


NOTICEBOARD

“This is drama, this is theatre”

On the occasion of a new exhibition, 'Anahad' at Famous Studios, Mumbai, Subodh Gupta speaks to Gayatri Sinha, about material, scale and shifts in his practice.

09 Dec 2016

A Place in Time: Conversations with the Curator

Sudarshan Shetty speaks to Vyjayanthi Rao Venuturupalli

28 Nov 2016

London Diary

Rashid Rana’s collaboration at the Royal Opera House and a rerun of Abel Gance’s Napoleon make for compelling viewing, writes Gayatri Sinha.

22 Nov 2016

Vasudeo Santu Gaitonde: Sonata of Solitude

Bodhana and Raza Foundation collaborate to produce an in-depth new study on the practice of the early modernist. Shreya Chaudhuri reviews the volume.

22 Nov 2016

Twin narratives of embodiment and materiality
by Georgina Maddox
Artists Manisha Parekh and Naiza Khan dwell upon different experiences of the border, objects and representation, from different locations.

22 Nov 2016

Museum as an Offering: The Museum at Velankanni Basilica

Vaishnavi Ramanathan visits the Basilica of our Lady of Health.

19 Nov 2016

Experiencing the Experience House

Charu Maithani describes her immersive and interactive encounter with the works at Experience House at Khoj Studios, New Delhi.

18 Nov 2016

The Poet Curator Remembering the 'Lone Wolf' Artist

John Xaviers reexamines the curatorial premise of the exhibition on Jeram Patel at KNMA.

24 Oct 2016


ARCHIVES

Questions and Dialogue
by Anita Dube
Anita Dube's historic review of the radicalism of the Kerala Group.

The Artist and Society
by Jaya Appasamy
Jaya Appasamy examines the artist's search for identity in an ever-evolving society.

The Artist -The Twice-Born
by Sophia Wadia (1901-1986)
Sophia Wadia delves into the relationship between mysticism and religion in the context of philosophy and art.

The Anatomy of Celebration or The Party ‘Plot’

Vasudha Thozur shares her thoughts on her photographic micro-narratives.


art history project


ON GENDER

The Ideal Wife
by Bhagwat Saran Upadhyaya
Bhagwat Saran Upadhyaya takes account of the duties and obligations set for women in ancient India.

Coinage bearing the names of Indian Queens
by Richard Burn
Indologist Richard Burn draws focus on the significance of women rulers in South Asia through the overarching study of coins. (1945)

In House Adoption
by Gayatri Sinha
In the present exhibition, Mithu Sen moves between defining the materiality of her world to directing her gaze into the erotic male body.

A Women’s Movement
by Sarala Devi
Sarala Devi writes about the origin and growth of the Bharat Stree Mahamandal during the British rule in India.

Modern Education of the Hindu Woman
by Abala Bose
Abala Bose highlights the importance of education for Indian women in the early 20th century.

Woman in Rigveda
by S.M. Srivastava
The article details the position of honour occupied by women in the Rigvedic Hindu social organisation.

Women in Ajanta Caves
by Wahida Aziz
"The extraordinary charm of Ajanta painting lies in the fact that the artists have used woman as a principal motif in their decoration." observes Wahida Aziz.

Canticle of Colour
by Uma Nair


CURATING SOUTH ASIA

Curating as site: the case of South Asia

CC interviews Iftikhar Dadi, art historian, artist and co-curator of the landmark exhibition Lines of Control (2012).

Shared Histories: Collective Exhibitions
by Shreya Chaudhuri
Shreya Chaudhuri examines some of the leading trajectories in the recent phenomenon of curating in South Asia.


TIMELINE: LANDMARKS IN INDIAN PHOTOGRAPHY

Part nine - 2000 onwards

With the shift towards the DSLR camera from the SLR film camera, the ability of the photograph to digitally reproduce itself assumes a new dimension. Photography becomes a continuum in the practice of performance and video art and covers a range of subjects that include gender and ecology.

Part eight - 1980 to 2000

During these decades photography actively intersects with the domains of art. The photograph also becomes a medium to disseminate mass culture through advertising and entertainment. At the same time a generation of reputed photojournalists emerge, who document events in India’s volatile space.

Part seven - 1960 to 1980

During the 1960's photographers in India were confronted with unexpected changes. The more settled aspects of nation-building – large dams and state run factories, and the Green Revolution, were offset by wars, the ravages of food shortages, and the nation's effort to lift itself out of poverty.

Part six - 1940 to 1960

The 1940's mark India's tumultuous crossover from colonial rule to Independence. Images were commissioned to document the nation's leaders, the newly formed industries, public works projects and cultural activities. Cinema photography in the hands of specialist studios brought in the era of romance.

Part five - 1920 to 1940

1920 onwards photography in India acquired a catalytic role of representing and disseminating images of the nationalistic struggle. Newspapers like Young India, Navjivan, the Bombay Chronicle and the Hindustan Times were disseminators of the photographic image.

Part four - 1900 to 1920

These two decades saw the rise of amateur and self-taught photographers. Women were seen in the forefront of this development. The beginning of the twentieth century marked the nascent phase of photojournalism in India; professional photographers were commissioned to cover all major events.

Part three - 1880 to 1900

Photography of archaeological sites, topography and commercial views, reportage and documentary photography, portraiture and ethnology were expanding the use of the medium. Photography studios acquired a variety of props, furniture and backdrops to provide social context to the sitter.

Part two - 1860 to 1880

The introduction of formal education in photography encouraged amateur enthusiasts to shape their talent professionally. The Archaeological Survey of India adopted photography to achieve accuracy in the documentation process. The trend of appointing court photographers grew among the royal families.


artists

“Life will Never be the Same”
by Roobina Karode
Roobina Karode's curatorial note on Jayashree Chakravarty's recent exhibition at Nice.

Abanindranath in Self-Integrated Pursuit of Art
by Saumyendranath Tagore
Saumyendranath Tagore delves into the artist's creative and philosophical impulses. (1961)

Paramjit Singh
by Krishna Chaitanya
Krishna Chaitanya explores the expressionistic inquiries in the artist's practice.

The Flower Child is Back
by Niyatee Shinde
After Ram Kumar and M.F Husain, Manu Parekh focuses on the holy city of Varanasi at the exhibition at Jehangir Art Gallery.

Tracking
by Rasna Bhushan
Rasna Bhushan's (1991) review of Vivan Sundaram's work with used engine oil, the first major installation by an Indian artist on the cascade of violence in the Middle East.

When Flesh Creeps, the Mind Boggles
by Peter Nagy
Peter Nagy on the 'glitz and the sleaze' that drive Jitish Kallat's representation of large scale urban economies.

Gaganendranath Tagore’s New Indian Art
by Abany. C Banerjee
Abany. C Banerjee explores the influence of Western art on Gaganendranath Tagore's practice.

When Soak Becomes Spill
by Bharti Kher
On Subodh Gupta's landmark use of the body, cow dung, and issues of identity. Bharti Kher's piece from the seminal catalogue, The Way Home (1999)


Artists Groups and Collectives


Artists Conversations


Curators and Exhibitions

crossing generations: diVERGE
by Chaitanya Sambrani

After Dark
by Gayatri Sinha

“Aesthetic Bind”
by Saloni Mathur

Water
by Gayatri Sinha

Ideas of the Sublime
by Gayatri Sinha


Lens Based Practices

Pre-Raphaelites Re-Visited: narratives of a gay life.
by Radhika Singh
Radhika Singh highlights Sunil Gupta's photographic contribution for the empowerment of gay and lesbian communities.

“King, Commoner, Citizen”
by Sanjeev Saith
Sanjeev Saith examines Prashant Panjiar's collection of photographs of erstwhile royalty and ordinary citizens.

Exploring the Politics of Identity
by Ram Rahman
Sunil Gupta's photojournalistic images movingly capture a deeply private investigation of inner conflict, observe

Paradigms of Perception: Between the Visual and the Optic
by R. Nandakumar
R. Nandakumar highlights Ramu Aravindan's sensibilities in documentary-style photography.

A Retrospective
by Raghu Rai

Cameras at Court
by Mrinalini Venkateswaran