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March 2016 Issue 19

While we were able to fill many gaps in the efforts towards a wholesome approach to the arts, there was still the need for forums that could discuss the constantly evolving vocabulary, writing styles and theory that informs art writing while also trying to establish a unique dictum for art from the region: there was the need for structural and pedagogical analyses of art writing practices contemporaneous to when they occur. Creating communities of critics, writing histories of art criticism and mentoring young art critics summarize the ends that some of our outreach initiatives outside of the physical space of the publication have accomplished under the TAKE on Writing initiative.

Over these several experiments, we realized that discourse is not merely writing. It is concealed within the folds of the social space — gestures, sarcasm, fashion, protest and social media. And more and more, conscious critical writing is transcending the boundaries of printed matter to identify its potential to all these other spaces. Over the course of several Writing workshops conducted by TAKE, critics, curators and artists came together to weave memories, anecdotes and strains of theory that informed the various decades leading up to the state of art as we know it in the present. This issue is a special one that collects traces of thoughts from the workshop participants during what has been a rather exciting period for TAKE.

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TAKE Writing: Editor’s Note

Independent Critic: Charting a Course

The Matter of Words, the Words that Matter

Clandestine Happiness: What do we Mean by Artistic Research?

Writing as Mirror: One is Two, Two is One

Inheriting the Transnational History of Art Reviews

Dear Radar, Drones, News Agencies and Google... Notes on History Melting into the Air

Gulammohammed Sheikh and Art Writing in Gujarati

Fugitive Lines: Nasreen Mohamedi 1960-75

409 Ramkinkars: Sculptural Installation and Theatre, 2015

The Death of the Critic and the Rise of Theory

Unspoken, not Unforgotten: Writing on Contemporary Art of Southeast Asia


Legacy of the ‘Reader - Viewer’: A Kerala Archive

Sistla’s Take on Art

Why do Artists Write on Art?

The Artist as Writer: Documenter of Histories/ Interventionist Scribe

Working Notes on Legacies of Art Writing in Gujarati: A Contemporary Perspective

Found in Translation: Criticism in the Era of Globalisation

Memories of the Art Boom: Waiting for the Market

An Artist’s Guide to Give a Flying Buck*


Eating Identity: The Wedding Project


Kalpana’s Warriors

Resurrecting History

Bhuri Bai: An Autobiography in a Fairytale

Crafting her First Decade: Gunjan Gupta

Graphism & Beyond: The Work of Abraham & Thakore

Arabesque Carrara: Michele Chiossi’s Constellation of Wholeness

The Fragility of Nature Explored with Optimism: Joan Jonas

In Search of a Dream and Other Stories: Kartik Sood

No Parsi is an Island

When the Wind Blows: Prajakta Potnis

Architecture Within Architecture

Evoking the Nature of Things

Seeing is Muting: Ruminations on the Wisdom in Nature

Of Stains and Stitches: Gopika Nath

Metabolic Listening: Impressions from Critical Writing Ensemble, Dhaka Chapter

Manisha Bhattacharya (1961-2015)

Kalpati Ganpati Subramanyan (1924 – 29 June 2016)

A Sweetheart Deal and the Cultural Commons: Battle for Venkatappa Art Gallery

Fly on the Wall #18

Shaheen Merali