A generational shift
by Gayatri Sinha
Vibha Galhotra’s immersive space at Exhibit 320 and Akansha Rastogi takes charge with Hangar for the Passerby at KNMA, Noida.

25 May 2017

Bharat Sikka: Kashmir: memory landscape

Ridhi Khanna reviews Bharat Sikka's photo series, Where the Flowers Still Grow in its recent iterations, at Kochi biennale and Nature Morte.

24 May 2017

57th Venice Biennale: Same but different
by Virginia Whiles
From Phyllida Barlow's "pragmatic politics of resistance" to the "tragicomic theme" of the Denmark Pavilion, Virginia Whiles reviews the biennale.

23 May 2017

See-through exhibition of seven exhibitions

Through the metaphor of semi-transparency, John Xaviers reviews Interpositions: Interplaying the Repository curated by Roobina Karode at KNMA.

23 May 2017

Exceeding the private, entering the public
by Paula Sengupta
Seen through the early 20th century works of four printmakers of Bengal at Graphic Prints, Galerie 88, Kolkata.

23 May 2017

In conversation with Nilima Sheikh - Part I

Between Documenta at Athens and Kassel, Nilima Sheikh speaks to Gayatri Sinha on the making of a language that imbeds violence in pervasive beauty.

15 May 2017

Relocating peripheries: Kathmandu Triennale

The first Kathmandu Triennale heralds a new energetic initiative from the margins. Christiane Brosius reviews the event.

24 Apr 2017

Reflections on the KMB - Forming in the pupil of an eye
by Roobina Karode
Visiting the Kochi biennale a day after it closed, Roobina Karode writes with empathy for the spaces of “meditation and self reflection” that the event invoked.

24 Apr 2017


A question of symbols
by Keshav Malik
“Symbolical art also is certainly not prompted by a pious aspiration for this beatific state. Art provides illumination not hope, unless it is the hope of illumination.” (1971)

Metaphorical bridges
by Rekha Rodwittiya
Rodwittiya examines the use of metaphors and human figures in her painting. (1990)

Tantra art in search of life divine
by Ajit Mookerjee
Ajit Mookerjee writes about Tantric art as a language symbolizing the man-universe relation. (1971)

Indian Muslims
by Humayun Kabir
"India is the one exception where neither has Islam been overpowered by India nor India absorbed into the Islamic world." (1956)

When you put cart(oons) before the horse
by Santo Datta
Santo Datta observes the historical significance of cartoonists as artists. (1994)

Printmaking, A flashback
by Keshav Malik
Keshav Malik shares his thoughts on the printmakers of the country since the 1960s. (1985)

The four initiators of the contemporary experimentalism
by Mulk Raj Anand
The writer identifies Rabindranath Tagore, Gaganendranath Tagore, Jamini Roy and Amrita Sher-Gil as the forerunners of innovation in Indian modernism. (1964)

A reassessment of some paintings described in Gangoly’s masterpieces of Rajput painting
by M. S. Randhawa
M.S Randhawa re-examines the material in O.C Gangoly’s book Masterpieces of Rajput Painting. (1957)

art history project


The Queer Speculum
by Arshiya Lokhandwala
Arshiya Lokhandwala builds a discourse on the trans-sexual politics of multi-media artist Tejal Shah. (2010)

Where do birds go when they die? Vibha Galhotra and a Poetics of loss
by Gayatri Sinha
"What we have then is a colossal shift in the domain of gender art into an aggressively ungendered space - one that visually repudiates the familiar sites and notion of the feminized landscape." (2012)

Making ‘A Space For Healing’: Strategies For Resistance and Recovery
by Roobina Karode
Roobina Karode maps the practice of women artists as agents for cultural transformation. (2007)

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.


Breaking away from the past
by Quddus Mirza
"Diversity is what defines Pakistani art today." Quddus Mirza on the emerging trends in the practices of Pakistani artists. (1998)


Amit S. Rai cogitates on the possibility of art recuperating a banal Indo-Pak dialectic as he responds to a show featuring Pakistani works at the Devi Art Foundation. (2010)

The Neighbourhood Project
by Deeksha Nath
Deeksha Nath responds critically to shows by L. N. Tallur, Bangladeshi artist Mahbudur Rahman and four Sri Lankan artists involved in The One Year Drawing Project at the Devi Art Foundation. (2010)

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.


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.


Ramkinkar Baij - His contribution to contemporary art
by Jaya Appasamy
Jaya Appasamy writes about the artistic individuality of the Santiniketan sculptor-artist.

The Universe as Consciousness
by Peter Nagy
Peter Nagy on Madhvi Parekh’s play of genres, styles and the cultural constructs in her paintings. (2010)

Jogen Chowdhury
by Keshav Malik
“There is a surrealist element of dream and memory behind Jogen’s compositions.” Keshav Malik on the compact with time in Jogen Chowdhury’s body of work. (1977)

The artistic inspiration behind Rabindranath Tagore’s painting
by Benodebehari Mukherjee
“His technique developed under the stress of needs. By scratching with a pen, or by daubing with colour soaked in cloth, by rubbing with a finger.” (1952)

A fertile land of pellucid light
by Soumitra Das
Ganesh Haloi who has developed the poetics of isolation and the Bengal landscape shares in the spotlight with inclusion in Documenta XIV. CC reproduces a piece by Soumitra Das. (2017)

A time for art
by Murtaza Vali
Murtaza Vali on the practice of Raqs Media Collective (2010)

Notes towards a biography of Amrita Sher-Gil
by Charles Fabri
"She was convinced, undoubtedly correctly, that her work was far more Indian in spirit than the so-called nationalist school. " (1964)

Jamini Roy
by Amrita
“Jamini Roy has endowed his complete mastery of the Indian pictorial tradition with a new richness and rare worth.” (1964)

Artists Groups and Collectives

How to Feel a Leak?
CAMP elaborates on their work, THE RADIA TAP(E)S as part of The Ungovernables, New Museum, New York Triennial (2012).

CONA: Points of Reflection
by Hemali Bhuta
Hemali Bhuta on the founding of CONA as a pedagogical structure for artists.

New Group: In conversation with Amitava Das and Mona Rai at New Delhi, April 23, 2014

Amitava Das and Mona talk about the formation of the New Group in 1974.

The Calcutta Group - Its Aims and Achievements
by Prodosh Das Gupta
Prodosh Das Gupta highlights the premise of founding the Calcutta Group in 1940.

Indian Society of Oriental Art
by James H. Cousins

Artists Conversations

In conversation
by Abhishekh Hazra
Riyas Komu talks to Abhishek Hazra on the explicit political choices in his work. (2006)

In conversation
by Ashrafi S Bhagat
Benitha Perciyal shares insights about her practice and unusual choice of materials. (2011)

Beyond Narrative Painting
by Yashodhara Dalmia
An interview with Tyeb Mehta. (2011)

A personal vision of tribal and folklore
by S A Krishnan
J Sultan Ali in conversation with S A Krishnan. (1980)

Second Skin: In Conversation with my Mother's Daughter
by Rekha Rodwittiya
Rekha Rodwittiya extends her inner world of conversation and critique by interviewing herself.

Sunil Gupta speaks with Radhika Singh
by Radhika Singh
Radhika Singh talks to Sunil Gupta about his practice as a curator-photographer, writer and queer rights activist.

Rereading Reena Kallat
by Quddus Mirza
Reena Kallat speaks with Quddus Mirza about the conceptual and aesthetic choices in her art practice.

Curators and Exhibitions

crossing generations: diVERGE
by Chaitanya Sambrani

After Dark
by Gayatri Sinha

“Aesthetic Bind”
by Saloni Mathur

by Gayatri Sinha

Ideas of the Sublime
by Gayatri Sinha

Lens Based Practices

The Photographic Eye of Jyoti Bhatt
by Sujoy Das
As it views folk art forms of pre globalized India by Sujoy Das. (2017)

Science, facts and fiction
by Soumitra Das
Soumitra Das examines both vernacular and English language sources in the writing of Siddhartha Ghosh on archival photography.(2002)

‘Crossing Currents’ Video Art and Cultural Identity
by Santo Datta
Santo Datta examines the cinematic experience created by video art documentaries and installations.(2004)

Fields of Sight
by Inderpal Grewal
Gauri Gill and Rajesh Vangad provide a new language that address the politics and aesthetics of environmental destruction.

“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.

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