shopping-cart0
search
×
slider face
Essay

The Jesuits, the Leftists, and the Genre of Documentary Photography in Late-Twentieth Century Calcutta

Working with the Jesuit social communication organization Chitrabani in Calcutta, a group of Bengali-leftist photographers aimed at positive social change by photographically documenting the everyday drudgery of the poor and the middle-class Calcuttans from the late-1970s through the early 1990s.

Read More
slider face
Essay

Many Tints of Red: Colour, Aesthetics, Bengali Cinema

In Kanchenjunga, moreover, the landscape that is produced is not merely a generic visualscape; rather, it attains autonomy and becomes an integral aspect of the narrative. The film became a yardstick of uses of colour in cinema, as cinematographer Subrata Mitra’s wellknown greyscale was transformed into natural tones, and to a colour palette which explored hues such as Ochre, Siena, Umber, Scarlet, etc.

Read More
slider face
Essay

Ritwik Ghatak and an Indian Project of Modernism

Emotionally intense experience that Ghatak’s films are they are also a reflection on consciousness, nature, and human destiny. They invite us to make connections with cultural pasts and political landscapes, and open up a space for thinking the history of the present. Cinema rarely affords us this adventure of ideation.

Read More
slider face
Essay

Indigo: The Colour of Liberation

The Indigo Revolt or the nil vidroh was a peasant movement and a subsequent uprising of the indigo farmers against the British indigo planters, originated in a village of Nadia in Bengal in 1859 and was led by the Biswas Brothers. The scar left of the revolt was so deep that not a seed was ever sown in the soil of Bengal after that.

Read More
slider face
Interview

Interview With David Davidar on Bengali literature

David Davidar is a pioneer of modern English language publishing in India, who has not only published many of the finest Indian writers in English, but also opened the doors to the publication of literature in other Indian languages in English translation on an industrial scale. What is his relationship with books from Bengal?

Read More
slider face
Essay

Chapal Rani

I’m no longer in Jatra because the Jatra no longer has any use for me. Now I perform two or three shows a year at Sitaramdas Onkarnath Thakur’s ashram, where it is against the custom for women to perform. He has written some good plays. There, I do the direction, supervise the stage, mike, lighting arrangements the setting of the mikes, everyone’s makeup, do my own makeup and then play the main part. I really have to slog. But still, being in the midst of my work makes me happy.

Read More

Current Issue

current-issue

Quarantine

Wherever you are, the first few months of 2021 has seen a continuation of the widespread devastation marked in 2020 by the global escalation of COVID-19 and the subsequent shift of international discourse, geopolitics, and the liveability index. This issue, Quarantine, responds to our new-found conditions and outlines a multiplicity of viewpoints on the topic highlighting the inherent tension, anxiety, and withdrawal marked by this period.

Details Buy
Inside Quarantine

TAKE Quarantine: Editor’s Note

Jaipur: A Museum in the Pandemic

Arts from Now On: Some Attempts at Continuance

The New Normal

Trees of Life

Crisis and Creativity

Alain Servais: ‘I Stay Away From Consensus’

A New State of Being: Reading Into the Santiniketan Narrative

Seeking Relative Permanence and Presence in the Transient With ‘Like a Leaf in Autumn’

Remembering Jyotsana Bhatt (1940–2020)

Remembering Anjum Singh (1967–2020)

Remembering Zarina (1937–2020)

Shahenshah Akbar (1928–2020)

Remembering Satish Gujral (1925–2020)

Ebrahim Alkazi (1925–2020)

TAKE Bengal, Part Deux: Introductory Note

Ramkinkar’s Yaksha-Yakshi

Zainul Abedin, Chittaprosad, and Art of Somnath Hore

Prodosh Das Gupta

Sankho Chaudhuri: A Personal Tribute

K. G. Subramanyan: Between the Real and the Imaginary

The Revenge of the Meek: Rabin Mondal’s Art Deals with the Suppurations of a Debilitated Society

City of Verse: Jogen Chowdhury in Conversation with Kunal Ray

Mithu Sen: Unpoetry

Arpita Singh

Sutripti Years: 1965 to 1975

Bedlam Under the Balcony: Wit and Inevitability in Debnath Basu’s Art

M. F. Husain

The Escapists: Their Idyllic Worlds are Salve for the Soul

Discreetly Disjointed: The Mutually Exclusive Strands of Artistic Practices in West Bengal (2000–19)

Experimenting with Art Experience: Ten Years of Experimenter

Then, Later, Now: The Home, the World, and Beyond

Job Charnock’s Tomb, Calcutta, ca. 1695

New Dimensions of Art and Feminism Through an Indian Festival

Satyajit Ray

Charak

China Town

Fly on the Wall

Fragmented Manuscript

Blood Red and Tears

‘Reena Saini Kallat: Blind Spots/Scotoma’

‘The Listening Eye: Retrospective Show of Gopi Gajwani’

Seema Kohli’s ‘A Circle of Our Own’

‘Know...Not this’

Turner and Tipu

Afterglow: Yohohama Triennale 2020

The Art of Naina Dalal: Contemporary Indian Printmaker

Shilpa Gupta: Drawing in the Dark

Framing Bengal: Different Lenses

Celebrating 10 years of TAKE on Art and Gallery Latitude 28

Take Features

feature
Essay

Indigo: The Colour of Liberation

The Indigo Revolt or the nil vidroh was a peasant movement and a subsequent uprising of the indigo farmers against the British indigo planters, originated in a village of Nadia in Bengal in 1859 and was led by the Biswas Brothers. The scar left of the revolt was so deep that not a seed was ever sown in the soil of Bengal after that.

Read More
feature
Interview

Interview With David Davidar on Bengali literature

David Davidar is a pioneer of modern English language publishing in India, who has not only published many of the finest Indian writers in English, but also opened the doors to the publication of literature in other Indian languages in English translation on an industrial scale. What is his relationship with books from Bengal?

Read More
feature
Essay

Chapal Rani

I’m no longer in Jatra because the Jatra no longer has any use for me. Now I perform two or three shows a year at Sitaramdas Onkarnath Thakur’s ashram, where it is against the custom for women to perform. He has written some good plays. There, I do the direction, supervise the stage, mike, lighting arrangements the setting of the mikes, everyone’s makeup, do my own makeup and then play the main part. I really have to slog. But still, being in the midst of my work makes me happy.

Read More
feature
Essay

Many Tints of Red: Colour, Aesthetics, Bengali Cinema

In Kanchenjunga, moreover, the landscape that is produced is not merely a generic visualscape; rather, it attains autonomy and becomes an integral aspect of the narrative. The film became a yardstick of uses of colour in cinema, as cinematographer Subrata Mitra’s wellknown greyscale was transformed into natural tones, and to a colour palette which explored hues such as Ochre, Siena, Umber, Scarlet, etc.

Read More

Take Editions

Unique, limited editioned and handcrafted affordable artworks by eminent artists exclusively commissioned for TAKE on Art.

advertisement