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June 2010 Issue 3

The quotient of ‘modern’ in Indian art has woven itself around some very potent and receptive expositions. Tracing a transverse path through the delicate transition from the pre to post-Independence periods, TAKE on art focuses on the period of 1950-60s. Aware that such a gesture would be akin to opening up a virtual Pandora’s box, considering the innumerable speculations and subjective interpretations of what and who really constitute the ‘Indian Modern’, TAKE on art bravely wants to ‘take’ the plunge. The plunge into the era, signaled by the desire for new beginnings or a mythical tabula rasa, converges with questions regarding the continuity of artistic traditions on one hand, and the embarkation on a cultural challenge, to stake claim to the empty space previously occupied by the colonial-anti-colonial position with regard to the other. An act like this, purports not only to take cognizance of the zeitgeist of the time but also of the art historical impulse.

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TAKE Modern: Editor’s Note

Adventures of a Photographer

Museuming Modern Art NGMA: The Indian Case-Study

Dr. Sanjoy Kumar Mallik on Dr. Klaus Fischer’s Essay on The Calcutta Group

Latika Gupta on Richard Bartholomew’s Essay on Delhi Shilpi Chakra’s Tenth Annual Exhibition

Dr. Alka Pande on Richard Bartholomew’s Essay on Ram Kinkar’s Show at NGMA

Madhu Jain on Richard Bartholomew’s Essay on Ram Kumar’s Exhibition

Gopal Mirchandani on Dnyaneshwar Nadkarni’s Foreword to the Catalogue of Jehangir Sabavala

Sophia Powers on K. G. Subramanyan’s Essay in the Catalogue of Benode Mukherjee’s Retrospective

Suruchi Khubchandani on ‘The Place of Art in Indian Industry’ by Bhabani Churn Law

Veeranganakumari Solanki on ‘Life and Letters—Chasing Shadows’ by Adib

Chittrovanu Mazumdar on Nirode Mazumdar

Dr. Seema Bawa on ‘Satish Gujral’s Exhibition Catalogue’ by Charles Fabri

Amrita Gupta Singh on K. G. Subramanyan’s Interview with Jyoti Bhatt

Meera Menezes on Pria Karunakar’s Essay on V.S. Gaitonde

Nancy Adajania on ‘The Decades and the Seminar’ by Gieve Patel

Ina Puri on Rabindranath Tagore’s Text in the Catalogue of Nandalal Bose’s Exhibition

Bhavna Kakar on the Writings of Krishen Khanna

Girish Shahane on the Writings of S.N. Souza

Karin Zitzewitz on John Berger’s ‘An Indian Painter’

Beth Citron on ‘Exhibition Catalogue of Tyeb Mehta’ by Krishen Khanna

A Personal Take on M.F. Husain

Review of ‘Shilpa Gupta’

Review of ‘Dayanita Singh’

This is Unreal

Cinema Verite Redux

Each Night Put Kashmir in Your Dreams

If Nothing Else, Just a Smile—Neha Choksi

Carnival of Rising Emotions

Revenge of the Repressed—Mithu Sen

Madhavi Swarup

Reflections Through Another State

Urban Testimonies

Shivani Aggarwal—Inhibiting Threads

Weighing the Scale: Size Matters or Does it

Out of the Sketchbook: Manisha Parekh in Conversation with BM Kamath

Collecting Slices of Human Life: Interview with Max Modesti

The Phantom Lady Strikes Again: The Artist and the Archive

I Shot the Sheriff: Who is Afraid of Art Criticism Virgins or Wolves?

Manjunath Kamath, 12 Small Lies, Watercolour on paper, Set of 12 units, 3.5 x 4.5 inch each. Image Courtesy: LATITUDE 28, New Delhi.



Museuming Modern Art NGMA: The Indian Case-Study

This brief essay on India’s National Gallery of Modern Art traces the early years of the institution from when it was set up in 1954. It was an important site for the art world as much as for the newly independent nation state declaring its commitment to modernity.

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Dr. Sanjoy Kumar Mallik on Dr. Klaus Fischer’s Essay on The Calcutta Group

The Calcutta Group was an artist’s collective that came together in 1943. From the early phase of the modern in Indian art this collective was involved in negotiating the issue of identifying a visual language (mostly in formal/ stylistic terms) that would neither succumb to the art school brand academism nor the prevalent alternative of the so-called ‘Bengal School’ patterns.

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Madhu Jain on Richard Bartholomew’s Essay on Ram Kumar’s Exhibition

It is refreshingly educativeto read art criticism that isalmost half a century old.Richard Bartholomew’scatalogue essay in 1961 onRam Kumar’s paintingsreveals the extent to whichthe late critic puts himselfinto the picture. The essayalmost reads like a letterto the painter—both in itsrather personal tone andslightly rambling and self indulgentnature.

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