24 Peter Heehs is happy to lose himself in the intricately worked outarguments of Debashish Banerji’s book about his famous relative, Abanindranath Tagore.

27 Anjali D'Souza delves into the deepest recesses of the sub-continent’s collective memories to discover the presence of the Mother Goddess as she turns the pages of Sumathi Ramaswamy’s new work, The Goddess And The Nation.

30 Abhay Sardesai looks at the different ways in which Vivan Sundaram makes Amrita Sher-Gil come alive in two multi-detailed volumes.

34 K. Bikram Singh paints a better picture than most in his book on M. F. Husain, but it isn’t as good as it could have been, says Girish Shahane.

37 Some essays enlighten while others disappoint Zehra Jumabhoy ,as she peruses Art and Visual Culture in India: 1857-2007.

Volume XV | Issue II | Quarter II | 2010       


40 Jahnavi Phalkey assesses issues related to historical documentation as she
flips through Aditya Arya and Indivar Kamtekar’s book presenting the visual archives of ace photojournalist Kulwant Roy.

43 The Khoj Book gives Kavita Singh occasion to trace the artists’ association’s admirable work from 1997 to 2007 and raise certain crucial questions.


47 Nandini Ramnath looks at some recent books on Hindi movie posters and chats with Rajesh Devraj, who has written The Art of Bollywood.


50 Anirudh Chari dwells on the fluidity of the manipulated image as he applauds Sunandini Banerjee’s digitally composed multi-referential book covers for Seagull.

54 Sandhya Bordewekar asks Baroda’s art world about the continuing importance of Gulammohammed Sheikh’s Contemporary Art in Baroda.


57 Quddus Mirza reviews the literature on art in his country and stops to gaze delightedly at some ‘artists’ books’.


74 London’s Warburg Institute should be allowed to operate in its generous, open-spirited way, argues Deirdre King.


75 Why does a show that is all about exploring space and time fail to give viewers any of their own? Deirdre Kingasks at Noa Lidor’s London solo.

76 Eerie mechanical devices and coats dripping with white gloop are some of the surreal objects in Sudarshan Shetty’s New York solo that move Murtaza Vali .

77 Something’s cooking in Risham Syed’s charmingly domestic universe stuffed with elegant Victoriana, feels Murtaza Vali.

78 While Lee Sharrock visits the London-based Whitechapel Gallery’s mega-photography exhibition, curated by Sunil Gupta, Gemma Sharpe comments on the veteran photographer’s solo at Grosvenor Vadehra.


81 David De Souza compares two dissimilar photography shows in two of
Mumbai’s majestic spaces.

82 David De Souza congratulates photographer Prabuddha Das Gupta for his leap of faith in a fusty warehouse.

83 Gopika Nath thinks that Pooja Iranna could have done a better job of depicting the less salubrious aspects of city life.

84 Amruta Nemivant is not completely convinced by the curatorial direction of the last three shows at Gallery BMB.

85 We should treat Shreyas Karle’s sense of humour with the respect it deserves; Gitanjali Dang tries to persuade us.

86 The Partition continues to cause Paula Sengupta deep distress, Vaishali Sharma observes sadly.

87 Manish Nai’s latest solo in Mumbai has him experimenting with more than just jute; Amrita Gupta-Singh is pleased to make the acquaintance of the new additions to his oeuvre.

88 Gillian Da Costa thinks Chintan Upadhyay’s long-standing affection for babies has its merits.

89 Marta Jakimowicz visits a joint display by Ayisha Abraham and Dina Boswank in Bangalore and is stirred by their depiction of watchmen’s lives.

90 A naked woman hugging a tree, a lady playing dead on a shikara and an artist offering rice to an abandoned house in Kashmir are few of the performances Meera Menezes witnesses as she travels with the Art Karavan.

92 Shaheen Merali’s curated show in Bangalore has some delightful cinemainspired works, Meera Menezes notes admiringly.

94 Atul Dodiya’s latest Delhi solo borrows heavily from Old Masters and his own past creations; Meera Menezes wonders whether he appropriates excessively.

96 Anirudh Chari agrees with curator Adip Dutta that drawing as a practice should be accorded a central place in art appreciation.

98 Srimoyee Mitra catches quotidian objects assuming unexpected meanings at CK Rajan’s new show.