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March 2015 Issue 17

Contrary to the white cube, the artist’s studio is where the art object is vulnerable, not sacrosanct. It is touched, moulded, destroyed, built, lived and not merely displayed, subject to sanctioned iconoclasm and vandalism. The studio houses not-so-sublime back-stories of painstaking labour, paint-smeared overalls and the odd worn out desktop running on Windows XP. It is an incubation space: for ideas – tangible or intangible, art – material or immaterial, commodities – sellable or impending dismantlement. It is often treated as the assembly line for artworks. Then there are the apparent paradoxes that remind us that the studio and its constituents too have their aura, not just a charm. It is the temple for the process, and the process is no less. The process too is art.

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TAKE Studio: Editor’s Note

Understanding Space and Realising Self

A Room that was Bright with Light

Across the Universe

A 200 Hour Studio in Providence

Hermitage and Bottega: The Studio as Collaborative Space

From a Storyteller to a Poet

Imagined Topographies: The Studio as Laboratory

Itinerant Studio

Making Space for Art: An Insider’s Take on 1 Shanthiroad

108 Rising Feminist Sculptures: The Studio and Social Practice of Artist Jaishri Abichandani

A Printmaker and his Apprentice: Insights from Working with Krishna Reddy

Glimpses: 56th Venice Biennale

The Contemporary and the Sacred in Indian Art

Discarded but not Dead

A Study in Extravagance

Dust to Dust-Subject-Object Nexus

A Kaleidoscope of the Ordinary

Building Bridges

Remembering Mrinalini Mukherjee

This Land is Your Land…

A Ceramist’s Syntax in Elemental Hues

Divinity Over the Ages

Karl Blossfeldt

In a World of Untold Tales

Of Moving Images and Other Things

Parliament of Forms

On Drafting Dissent

Uncanny Interventions in Borella Junction

Kingdom of Goddesses and Gods

My Last Letter to a Dear Friend — Amol Vadehra

The Phantom Lady: Revisiting Rodin’s ‘Gates of Hell’

Fly on the Wall

Shaheen Merali