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soumyakanti artist poster AK 2
“When filmmaking runs that deep, it never becomes familiar”. Scorsese’s remark on Kurosawa reminds us of how little we understand, not only of cinema but of life itself. Irrespective of all the disciplinary appreciations and criticisms we undertake, none of us can fully decipher an auteur’s philosophical foundation. Cinema, just like other major art forms has developed across continents – in cultures across the globe presents their respective identities. To be able to perceive works of such a vast domain demands…
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At the climax of his photographic journey, he becomes intimately personal, dissolving the rigidity of forms and structures. But the journey that took him to that place of an internal investigation is grounded in the revelations that different phases of his career provided him. Born in Calcutta, the genesis of Prabuddha Dasgupta’s career lay in his indulgence with portraits. He has produced both commissioned and personal pieces of work. Almost all of his color photographs belong to commissioned projects. Even then, irrespective of Dasgupta’s expertise,
Raghubir Singh: Modernism and Multiplicity
Modernism in Indian art history developed in conversation with the cultural dilemmas and contradictions during the colonial regime. The ensuing tensions between the Western convention of academic art and the essentialist espousal of an Oriental past eventually led to cultural symbiosis in Indian modernist aesthetics. In the works of artists like K.H. Ara, Ramkinkar Baij, and Sayed Haider Raza, indigenous traditions interacted with modern techniques to address the heterogeneity of caste, religion, gender, and race in the cultural fabric of India. As pertinent studies have shown, unlike the later modernist preoccupation in the West
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I happen to stumble on a photograph called Greenwood Mississippi, widely known as The Red Ceiling following an hour badly spent. I had spent the previous hour looking at the ceiling amidst the banal setting of different objects in my home. A few minutes later, the image, I have had stumbled upon, opened an unseen world in me. The image was both formerly beautiful and unsettling, like the creeping unease of a Hitchcock film. In the beginning, the photograph disconcerted me, then caught me and besotted me in the most mundanely beautiful way.
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Bohun Lynch in his book A History of Caricature (1926) writes, “…….we may say that caricature is, amongst the other things, the portrayal of an individual, as seen by another, without regard to the rules of drawing. Joseph Conrad, in Nostromo, speaks (and as it happens without any apparent thought of caricature in his mind) of “putting the face of a joke upon the body of truth”, which very neatly serves to describe at least one aspect of the art.”…
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Gaganendranath Tagore and the Political Aesthetics of Caricature The widespread global political mayhem marked by bigotry and half-witted extremism works in tandem with the overt proliferation of images. In their affect-driven reception, the efficacy of social-political critique in images of public propagation should be rethought, especially in political cartoons and caricatures. Caricatures are known for their play between distortion and recognition, violence and humour, entertaining mockery and thoughtful inquisition. To understand the political-aesthetics of caricatures and their fluidity in containing critical political positions, it would be interesting to revisit Gaganendranath Tagore’s short but prolific stint in caricature drawings. I

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