When it comes to Shiladitya Sarkar, there is more to look and feel than there is to say—hence the rather apt title to his recent works of art, Implicit Conversations.

Intermission at Bass Concert Hall got a lot more interesting last month when Kala Fine Art filled the building with 80 large pieces of contemporary art from India

Isaac Bashevis Singer once commented that literature should describe the absurd but it should never become absurd itself. It is a poignant remark, especially in the context of reading and writing in the contemporary domain.

The Media Science department of iLEAD organized a thoughtful seminar on Experimental and Underground cinema. The seminar was focused on making the students of media science aware of the history, dynamics and current trends of this exciting branch of film making.

MANJIT BAWA Puri, Ina. In Black & White: The Authorized Biography Of Manjit Bawa. Penguin Groups, 2006. Puri, Ina. Manjit Bawa: In His Own Words. Pocket Art Series. Roli Books Pvt Ltd, 2000.

Ganesh Pyne was an Indian painter and draughtsman, born in Kolkata, West Bengal. One of most notable contemporary artists of the Bengal School of Art

Ganesh Pyne, who died of a cardiac arrest on Tuesday, was happy to sell his works for Rs. 20 till the late-‘60s. After 2006, this reclusive and deeply philosophical artist’s works began fetching anything between Rs. 50 lakh and Rs. 1 crore. HT reports.

Ganesh Pyne’s works reflect a deep fascination with death and decay – a result of the experiences faced by him and his family during the communal riots in Bengal in 1946.

Adajania’s account of editing the Art India magazine in the early 2000s

Surya Prakash occupies a unique position in the realm of Indian art. Surya Prakash: A Retrospective Exhibition sho-ws perfectly how the artist strikes the right note thr-o-ugh a flawless symbiosis between form and content. His art projects an imagined experience, rather than annotations of the temporal world.

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The Modernist movement pioneered by the Progressives as a refreshing alternative to the Bengal school is a watershed event in Indian art history. The emphasis, however, continued to be on the long established trend of figuration.

Headlights for sunken eyes,radiators evocative of wounded ribs and a landscape of used automobile parts that reveal the grotesque realities of Nehruvian India. Surely,the politics of Hyderabad-based artist, Surya Prakash’s junkyard phase establish him has an artist with a rare distinctive voice. But Prakash doesn’t want to be bound by any particular phase of his […]