"Engaging with Indigenous worldviews requires the acknowledgement of three interconnected, and ongoing temporalities: ancestrality, coloniality and the experience of the contemporary life. At the centre of this triad lies the notion of ancestrality, a beating heart of Indigenous understanding of sovereignty. As the Geonpul scholar Moreton Robinson explains in the above-mentioned quotation, ancestrality is a key element shared across the Indigenous experience because it encompasses a space of intersubstantiation (between humans, ancestors, the land, and nonhuman entities) that defines their existence." Katya García-Antón, Guest Editor, TAKE Indigenous
Details BuyMemory as a Method: Textures of Anticolonial Legacy in Birsa Munda Rebellion
We Talk, You Listen
Venkat Raman Singh Shyam (Gond) Santosh Das (Mithila) Tushar & Mayur Vayeda (Warli) Bhuri Bai (Bhil) Jodhaiya Bai (Baiga)
Evolving Knowledge Systems
Reframing Indigenous Art: Voices of Resistance and Fugitive Aesthetics
The Head is a Streaming Pitcher: Rupture, Reclamation and Reinvention of Adivasi Knowledge
Bringing Traditional Artists to the Book
The Sovereign Forest, a collaboration with Sudhir Pattnaik and Sherna Dastur
Sueño de obsidiana (Obsidian Dream)
Exhibition Making and the Question of What Lies Beyond
Decolonization and Art in Bolivia: La Casa Grande del Pueblo (The Big House of the People)
To Be Discriminated Against or Not? Indigenous Drinking Coincides with Dispossession in Health
The Uncomfortable Museum
Ocean and Canoe
Tamba: reflections on revolution and rebirth
Women’s Knowledge in the Art from Indonesia Indigenous Artists
Janjatiya Sangrahalaya: A Paradigm Shift in Museum Curation and Ethnographic Representation
Tracing the Evolution of Banaras and the Role of its Diverse Communities
Gulistan
Himmat Shah Retrospective
The Elemental You
Dhavat and His Jungle
The Posthuman in Heaven (And That Other Place)
Histories Loved and Tempered: What the Nilima Sheikh Archives reveal
When Indian Flowers Bloomed in Distant Lands
From the Ghor to the Gallery: Liberating the Feminine Realm in Indian Art
Ephemeral Visages
Women, Modernism, and Resistance: Reminiscing
Black Noise
The Horizon in Between: Bridging Indian Art and Politics
Belinder Dhanoa: Kasauli Art Centre 1976 - 1991
Art as a Winding River: The Bengal Biennale through Cross-Currents
Latika Katt
Echoes of Fur
Ravikumar Kashi’s ‘Fragile Worlds’ at the Museum of Art and Photography, Bengaluru, evokes the permeability of form, memory, and meaning. Through delicate, net-like sculptures and poetic explorations of language, the exhibition invites viewers into a tactile, immersive meditation on fragility, interconnectedness, and the porous edges of self and society.
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This review by Dr Alka Pande explores 'F.N. Souza: The Archetypal Artist' by Janeita Singh (Niyogi Books), a bold and interdisciplinary examination of one of India’s most controversial modernists. Blending Jungian psychoanalysis, feminist literary theory, and cross-cultural philosophy, Singh offers a fresh, intimate lens into Souza’s work—unpacking themes of sexuality, shadow, and modernity with remarkable clarity and conviction. A compelling contribution to postcolonial readings of Indian art.
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This review by Dr. Aranya Bhowmik explores In Celebration: Jogen Chowdhury at Art Exposure Gallery, Kolkata. Curated by Soumik Nandy Majumdar, the exhibition traces Chowdhury’s evolving visual language—spanning refugee memories, surreal dreamscapes, and politically charged figures—revealing a deeply personal modernism marked by psychological depth, empathy, and cultural rootedness.
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A Review of Waswo X Waswo's show Heaven (And That Other Place), held during 10 October - 17 November, 2024 at GALERIE ISA, Mumbai.
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Kalam Patua is considered to be a phenomenon to understand the response of a traditional folk visual artist (the patua or the maker of the pata) to the non-academic and popular art practices of urban Kolkata, the Kalighat patachitra. Hailing from the Murshidabad district of Bengal, Kalam Patua is said to have reinvented Kalighat painting to create his own visual narratives and stabilise his rhetoric, style and technique. Patua started as an apprentice in his family of idol-makers in Murshidabad, and learnt patachitra painting which was the hereditary practice of his extended family spread in the two districts of Murshidabad and Birbhum.
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Unique, limited editioned and handcrafted affordable artworks by eminent artists exclusively commissioned for TAKE on Art.
The Story Which You Have Written, Bronze, 5 x 11 x 4 inches, The Story Which You Have Written by G R Iranna, 2023
Available
Lingam Lamp, Sculpture Cast aluminium, toggle switch cast in aluminium, Edition of 25, 10 x 7.25 x 14 inches, Lingam Lamp by Ashiesh Shah, 2020
Available
Untitled , Hand–painting on Papier Mache, 11 x 9.5 x 1.5 inches, Hand-painted book object by Ganesh Haloi, 2021
Not Available
Uncalendar Unever, Mixed media work with embossed print, hand and pin drawing on paper, Series of 100, each one is unique and signed, 17 x 20 inches, Uncalendar Unever by Mithu Sen, 2023
Available
My Bonsai Tiger, Stainless Steel, 264.4 mm x 306.6 mm x 1.5 mm, Limited edition of 35 , My Bonsai Tiger by Rekha Rodwittiya, 2022
Available
Untitled, Mirror Acrylic, Limited edition of of 50, 13 x 9.2 inches, Untitled by Shilpa Gupta, 2022
Available
Talisman (Twin-1), Digital collage printed on rice paper (100 GSM), with wooden boxes for encasing Limited edition of 10, each numbered and signed, 9 x 9.4 cm (h x w), length of spread out 514.5 cm, the attached wooden support covers 2 cm, outer box: 10.4 x 12.4 x 6 cm (h x w x d), A digital collage accordion format book named ‘Talisman’, Second edition, 2022
Available
Re[construction], Brass ghungroos (trinkets) and steel, 14x 8 x 8 inches, A series of unique sculptures made of brass ghungroos (trinkets) and steel by Vibha Galhotra, 2022
Not Available
Skewed Histories: Amalgamation as sculpture (1), Biodegradable polylactic acid, Limited edition of 10, 21 x 16 x 12 inches, Editioned sculptures made of biodegradable polylactic acid by Ayesha Singh, 2022
Available
Drop, Unbleached cotton painted with acrylic paints, aluminium wire, Limited series of 35, 6 x 3 inches approx., wire: 38 inches approx., outer acrylic box: 6.5 x 6.5 x 8.75 inches, A series of soft fabric sculptures by Dhruvi Acharya, 2022
Available
Untitled, Paper mache and acrylic paint Hand-painted Unique Book , 11 x 11 x 2 inches, Untitled, 2016
Not Available
Table Lamp, Mixed Media Unique Series of 12, 20 inches (lamp shade 7 x 12 inches, stand: 12 x 9 inches), Table Lamp, 2011
Not Available
Painted Palettes, Acrylic on palette (MFD board) Series of 10, , Painted Palettes, 2012
Not Available
Museum Bhavan, Nine individual ‘museums’ in book form in a handmade box , 3.7 x 5.5 inches , Museum Bhavan, 2017
Not Available
Untitled, Etching on copper and carved mahogany wood Edition of 50, 12 x 10 inches, Untitled, 2009
Not Available
Stretched Body Series, Watercolour on arches paper-pulp book cast sculpture Hand-painted Unique Book , 11 x 9.5 x 1.5 inches, Stretched Body Series, 2014
Not Available
Untitled, Collage, watercolour, graphite on paper mache Hand-painted Unique Book, 11 x 9.5 x 1.5 inches, Untitled, 2014
Not Available
Untitled , Collage, watercolour, graphite on paper mache Hand-painted Unique Book , 11 x 9.5 x 1.5 inches, Untitled , 2014
Not Available
Torso, Hand gilded on polyester resin fiber Exclusive Edition of 30, 9 inches, Torso by G. Ravinder Reddy, 2017-2018
Not Available
Two Thousand Three Hundred Grams of What?, Acrylic and decoup acrylic Limited Edition of 50, 11.5 x 8.7 x 1.5 inches, Two Thousand Three Hundred Grams of What? by Raqs Media Collective, 2013
Available
The Popular Series, Native Women of South India: Manners and Customs, Giclee Print, 5.5 x 8 inches each, The Popular Series, Native Women of South India: Manners and Customs by Pushpamala N and Clare Arni, 2000-2004
Available
I Never Promised You A Rose Garden, Single book in metal Editions of 50, 8.6 x 5.9 x 1.1 inches, I Never Promised You a Rose Garden by Shilpa Gupta, 2011
Not Available
The Book of Sand – II, Watercolour and marble dust on arches paper-pulp book cast sculpture Hand-painted Unique Book, 11 x 9.5 x 1.5 inches, The Book of Sand Series by Atul Dodiya, 2016
Not Available
The Book of Sand – I, Watercolour and marble dust on arches paper-pulp book cast sculpture Hand-painted Unique Book, 11 x 9.5 x 1.5 inches, The Book of Sand Series by Atul Dodiya, 2016
Not Available
Pink elephant in bathtub, Digital print on archival paper Edition of 50, 5 x 7 inches, Pink Anubhav Highres by Manjunath Kamath, 2011
Not Available
Matchbox, Digitally printed matchboxes, 15 x 15 inches , Series of unique pieces signed by the artist , 2018
Not Available
Forbidden Stories, Paper Mache and acrylic paint on arches paper-pulp book cast sculpture Hand-painted Unique Book , 11 x 11 x 2 inches, Series of unique pieces signed by the artist , 2016
Not Available
Anti-clock, Mixed media (water colour on hand-made sheet, velvet etc.), Sizes vary, Series of unique pieces signed by the artist , 2011
Not Available
Tract, Visual book with 100 images, 1200 gsm, natural evolution hard bound Limited Editions of 100, 12 x 17 inches, A photo book that encapsulates the collapse of ecological terrain to advance the multitude of urban life.,
Available
