In It Together 24-APRIL-2020 Final
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Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
20Years of Sahmat.Pdf
SAHMAT – 20 Years 1 SAHMAT 20 YEARS 1989-2009 A Document of Activities and Statements 2 PUBLICATIONS SAHMAT – 20 YEARS, 1989-2009 A Document of Activities and Statements © SAHMAT, 2009 ISBN: 978-81-86219-90-4 Rs. 250 Cover design: Ram Rahman Printed by: Creative Advertisers & Printers New Delhi Ph: 98110 04852 Safdar Hashmi Memorial Trust 29 Ferozeshah Road New Delhi 110 001 Tel: (011) 2307 0787, 2338 1276 E-mail: [email protected] www.sahmat.org SAHMAT – 20 Years 3 4 PUBLICATIONS SAHMAT – 20 Years 5 Safdar Hashmi 1954–1989 Twenty years ago, on 1 January 1989, Safdar Hashmi was fatally attacked in broad daylight while performing a street play in Sahibabad, a working-class area just outside Delhi. Political activist, actor, playwright and poet, Safdar had been deeply committed, like so many young men and women of his generation, to the anti-imperialist, secular and egalitarian values that were woven into the rich fabric of the nation’s liberation struggle. Safdar moved closer to the Left, eventually joining the CPI(M), to pursue his goal of being part of a social order worthy of a free people. Tragically, it would be of the manner of his death at the hands of a politically patronised mafia that would single him out. The spontaneous, nationwide wave of revulsion, grief and resistance aroused by his brutal murder transformed him into a powerful symbol of the very values that had been sought to be crushed by his death. Such a death belongs to the revolutionary martyr. 6 PUBLICATIONS Safdar was thirty-four years old when he died. -
New Narratives in the Art of the Miniature
FABULAR NEW NARRATIVES IN THE ART OF THE MINIATURE FOREWORD Change does not occur in a vacuum. Every step we take is There are some intriguing contradictions in this show. informed by one that has gone before; every move towards The contrast of an elegant, serene setting with the bold the future owes a debt to the past. statements on display; the cohesive character of a show peopled by a diverse group of artists; a contemporary Art is no exception. creative passion inspired by a traditional artistic past. I believe these contradictions will draw people into the show The tradition of the miniature is intrinsic to our cultural and leave them mesmerised. heritage. Characterised by fineness of detail and vivid imagery, these paintings are not only exquisite works of art In essence, this is the aim of the Harmony Art Show, but a valuable chronicle of our histories; snapshots, as it which has never been defined by prevailing market were, of civilisations in the making. trends or themes. In the past 16 years, our endeavour has remained the same: to evoke a greater interest in art In 2009, Harmony Art Foundation was proud to showcase among those who have been immune to its magic, and the miniature as an enduring legacy in a show that sought to enable the artist and art lover to find each other. In the renew our pride and engagement in this rich tradition. This process, we have strived to break down the barriers and year, with Fabular Bodies: New Narratives in the Art of the boundaries associated with art, making it accessible to Miniature, curated by Gayatri Sinha, we take a step forward, people from every walk of life,while recognising to celebrate the miniature as inspiration for contemporary promising talent and giving it a platform to shine alongside creative inquiry. -
Brush with Boldness
Brush with boldness The GenNext of women artists wields a confident and adventurous brush when it comes to expressing the art of the current century, writes Nirupama Dutt Let me begin by saying that I object to the term ‘woman artist.’ I am an artist. Also, I do not see myself as a crusader because of the time one has been born in. I certainly feel that the times are different and each artist has her/his own respective journey to make and experiences to learn from,’ says Sheila Makhijani, one of the serious painters of the new millennium. How different she sounds and how much more self-assured than the women artists who came before her in the seventies — neither those self- conscious and self-effacing remarks nor the pressure to prove herself as a woman artist. There is also no compulsive need to probe the layers feminine or feminist psyche. But this "I have been able to translate confidence is not born in a vacuum. It is the newer perceptions into my result of some very hard work put in the field of works" art by women who came before them. Manisha Parekh has chosen to move far away from the figurative to experiment with the abstract Although traditional Indian art always had woman practitioners even if they remained anonymous, as far as modern Indian art goes, the First Lady of the Canvas was Amrita Sher-Gil (1913-1941). Sher-Gil, with her mixed Indo-Hungarian parentage, aristocratic background and Parisian training in art, was the lone star in the colonial times. -
Standing up for Those Who Stood with Us
Standing up for those who stood with us Statement of support for Lawyers Collective We, the undersigned concerned citizens, are extremely perturbed at the increasing tendency of the Government, through its agencies, to use excessive power to curb the voice of the people, which is the very essence of democracy. The work of Lawyer’s Collective in general and Indira Jaising and Anand Grover, in particular, has contributed to changing the lives not just of individuals but of citizens of a democratic republic. They have not only represented the rights of individuals and communities such as slum dwellers, workers, trade unions, prisoners, SC/ST associations, Bhopal Gas tragedy victims, women, LGBTQ+ and other marginalised communities as lawyers, but have also contributed immensely to the discourse of human rights and state accountability as public intellectuals. They represent a commitment to the country that our founding leaders envisioned and that is enshrined in our Constitution. They have fearlessly exercised their right to not just freedom of speech and expression but the fundamental right of every citizen to hold the Government and Institutions of the day accountable. This is a right that every constitutional democracy must seek to protect for its citizenry. The registration of an FIR against them under the Foreign Contribution Regulation Act, Prevention of Corruption Act and the Indian Penal Code, on the very allegations that are already under challenge before the High Court of Bombay, is a clear sign of executive haste and overreach. Pillorying them in this manner would deprive vulnerable sections of society of the benefit of representation of such high calibre and commitment. -
Bright and Brilliant Painters Around the World V.V.S.Manian
Bright and Brilliant Painters around the world V.V.S.Manian Contents A.E.Kieren Adriaen Brouwer Adriaen van de Venne Armin Mersmann Arpita Singh Artemisia Gentileschi Bikash Bhattacharjee Canaletto Diego Rivera El Greco Emanuel Gottlieb Leutze Fares Cachoux Frederic Remington George Keyt Gustave Courbet Hassan Massoudy Henri Rousseau Heri Dono Hieronymus Bosch Honore Daumier Hossein Nuri & Nadia Ivan KonstantinovichAivazovsky Jacques –Louis David Jean-Baptiste-Camille Corot Johan Vermeer Johann Michael Rottmayr Kara Walker Kole Idromeno Leonardo Da Vinci Master Mahmoud Farschchian Michelangelo Pablo Picasso Paolo Uccello Patrick Ching Pawel Kuczynski Peter McIntyre Philip Guston Porternari Quintus Pedius Rabindranath Tagore Raphael Rembrandt Harmenszoon van Rijn Richard David Shepherd Sandro Botticelli A.E.Kieren A.E. Kieren is a free lance illustrator and performer. He is a specialist in on – location “sketch journalism” as well as events entertainment. He is famous for sketching human moments happening around him- on the train, in bars/restaurant and on the street. He is fast, operating on instinct to catch. “You had to be there- moments of his subjects doing everything from chatting to staring into space”. Kieren holds a BFA on Illustration from College for Creative Studies in Detroit, MI, and an MFS in Illustration and Visual Essay from School of Visual Arts in New York City. His ambition includes editorial illustration for magazines, book covers, theatre posters and wine labels. Kieren’s clients include Target, Entertainment Weekly, John Hopkins Magazine and Refinery Hotel. He lives in New York. Adriaen Brouwer Adriaen Brouwer was a Flemish painter. Brouwer worked in Haarlem and Amsterdam before joining the Antwerp painters’ guild. -
We, the Undersigned, Are Shocked at the Action of the up Police Under
We, the undersigned, are shocked at the action of the UP police under Yogi Adityanath in filing criminal charges against The Wire and against one of its founding editors, Siddharth Varadarajan. This attack on media freedom, especially during the Covid-19 crisis, endangers not just free speech, but the public’s right to information. The target of this action is a factual story on the Tablighi Jamaat and its exposure to Covid- 19. Towards the end, the impugned article merely pointed out that “Indian believers” more generally have been late to adopt precautions and avoid congregation, recalling UP Chief Minister Yogi Adityanath’s plans, as late as March 18, to proceed with a religious fair at Ayodhya and his flouting of the national lockdown and social distancing norms by taking part in a religious ceremony along with others on March 25. Two FIRs were filed under various sections of the law on April 1, one on a complaint by a resident of Ayodhya and the other on the basis of a complaint by the SHO of the Kotwali Nagar police station, Faizabad. A plain reading of the sections invoked in the FIRs (given below) makes it clear they cannot possibly apply to the article in question. The FIRs were followed up with a gross display of intimidation on April 10 when policemen arrived in a black SUV with no numberplates at Varadarajan’s residence in Delhi to issue a legal notice ordering him to appear in Ayodhya on April 14 at 10 am. That the UP government sent policemen driving across 700 kilometres during the national lockdown to issue this summons when the postal system is still operational speaks volumes for its priorities.