History

TAKE on art is a biannual art journal published from New Delhi since 2009, comprehensively covering reports and critiques on art and cultural events globally from a South Asian perspective. TAKE maintains a critical approach towards discourses on art through curated issues. Previous issues have interrogated themes such as the Sacred, Writing, Residency, Photography, Sculpture, Collectors, Biennale, Design, Market, Curation, Gallery and Modern, situating developments in these areas within the contemporary understanding of art. TAKE’s commitment to critical writing extends to nurturing and publishing emerging art critics in the region alongside contributions from leading writers and critics elsewhere. For almost a decade, TAKE has been building alternative art histories for the region, situating texts on forgotten discourses and artists within the established cannon.

 

HISTORY

TAKE on art was launched in 2009 with its first edition, Issue Zero—a publication filled with blank pages conceptually inviting the art community to share what they would expect from a new art journal. The spirits in the Indian art world at the time were not exactly soaring. The global financial downslide was looming, and the art boom of the previous years that had triggered many ambitious ventures had collapsed. The feedback that Issue Zero received indicated that there was indeed the need for renewed perspectives on art given the rate at the which artistic production had transformed in the region over the previous decade, but the comments were also mixed with disbelief at the audacity to launch a publication when times were so bleak. We chose to be encouraged nevertheless and plunged into what we thought could only be an adventure. This was the mindscape that coloured the magazine’s first editorial initiative, TAKE Black, Issue 01.

In retrospect, the odds have always been against publications on art in India. The readership for academic and critical writing on art has always been niche, with short-lived though thriving art columns in mainstream newspapers. The presence of art journals has also been sporadic. Art history is filled with more publications that have eventually spiraled into decline (despite having contributed immensely to the canon) than those that have survived. As an independent publication that sought to support itself, we had the editorial legacy of publications such as Vrischik, Journal of Arts and Ideas, and Contra to live up to, and a similar demise to fear. Blogs were all the rage in the 2000s, and predictions about the death of print media were stirring. If we were going to make history, there was no better time to get started.

We are well on our way since we launched this curious journey with the support of Latitude 28, one of the leading contemporary art galleries in New Delhi for cutting edge art practices. Despite this association, TAKE has had the editorial liberty to maintain its presence as an independent publication with discerning coverage of work by emerging and established artists, curators and writers.

 

EDITORIAL FOCUS

TAKE wanted to be a publication that generated critical and academic discourses on concerns imminent to contemporary artistic production, curatorial practices and art history writing. And the magazine wanted to keep at it for years to come without becoming superfluous or losing relevance—not just to a specialised readership but also to the public. Part of doing that included reviving the concept of a periodical publication on art by generating readership and interest in such content, nurturing a younger generation of critics, and contributing to the scant efforts that have been made in building art histories in the region. We ensure nationwide distribution and consistently organise outreach initiatives across the country with the launch of each issue.

TAKE’s editorial focus asserts that art is not an isolated institution, and encourages conversations in its pages on its intersections with fashion, food, design, film and performance. The interests of the niche, but diverse and devoted readership we accumulated over the years helped shape this broader focus. TAKE periodically invites experts as guest editors on board for particular thematic issues, in its attempt to be a platform for relevant contemporary perspectives and cutting edge discourses from the region. The journal publishes promising new writers alongside the most influential voices in the field, encourages non-writers, who are nevertheless repositories of knowledge on the art scene, to write, and critically reexamines archival material that had slipped through the cracks of History through such issues as TAKE Modern and TAKE Critic.

 

TRAVEL

TAKE is dedicated to the arts in the region and frequently travels to art fairs, biennales and festivals around the world in its attempt to generate interest and increase the reach of art practices from India and South Asia. We have partnered with events such as Art Dubai, Art Istanbul, Dhaka Art Summit, Videobrasil, Art Basel, Art Basel HK, Art Basel Miami, Asia Manchester Triennale, Art Stage Singapore, India Art Fair etc. over the years. TAKE was the first magazine from the region to be part of Art Basel and has been making regular appearance at the fair. Besides this, through more informal partnerships, TAKE recently also travelled to centres such as Oslo, Venice, Hong Kong, New York, Dhaka and Colombo, representing arts from the region.

 

OUTREACH

As part of its outreach initiatives, TAKE periodically organises panel discussions, seminars, writing and curatorial workshops, and residencies around South Asia on the themes and concerns that charge its various magazine issues. The magazine has organised symposiums, panel discussions and artist talks within South Asia to coincide with the launch of each issue of the magazine, as a part of efforts to start conversations outside the printed matter, and in order to acknowledge the fluidity and polemic inherent to discourse. Symposiums such as The Biennale is Everywhere, Take on Residencies, and artist talks with Kiran Subbaiah, Jitish Kallat and Sudarshan Shetty have received wide acclaim. We have been partners with several landmark events and initiatives in the region such as Experimenter Curator's Hub (2011- 16), Insert 2014, Art Scribes Award 2012-16, Sarai Reader 09: Episode 1, 2 and 3, Amrita Sher-Gil National Art Week, Delhi Photo Festival etc.

TAKE has been invested in sustaining critical writing practices in India through the series of workshops and the TAKE on Writing ensemble series. This endeavour was conceptualised to initiate continuing dialogue among contemporary art writers and critics by connecting peers who could potentially exchange ideas, and offer each other critique and feedback. The idea of a critic-community has been an on-going concern for TAKE, as writing can be an isolating process, and has over the years somewhat receded into the shadows, in terms of its relevance. This has resulted in intensive destination workshops, TAKE on Writing: Critical Writing Ensemble – Baroda chapter and the later Dhaka chapter as part of the Dhaka Art Summit in collaboration with the Office of Contemporary Art Norway and TAKE on Writing – The Book in December 2016 which explored language and its keeper, the book, for the ways in which they contain or are contained by art and art writing.

 





Contact us

TAKE on art is a bi-annual journal published from New Delhi that focuses on global contemporary art, photography, fashion and design from a South Asian perspective.

  • admin@takeonartmagazine.com
  • 01146791111
  • F 208 1st Floor (opposite HDFC Bank), Lado Sarai, New Delhi, India – 110030

Subscribe to TAKE on art’s Newsletter

Copyright © 2016 Take On Art | Powered By Bluehorse Software