Amrita Sher-Gil painted herself as a woman both exposed and unreadable—arms crossed, eyes steady, alone even in a crowd of village girls and hill women. This essay traces the erotics of isolation in her self-portraits, where loneliness, desire, and the female gaze reshape modern Indian art and how we see ourselves.
Seeing comes before words. The child looks and recognizes before it can speak. But seeing is also an active, ever-moving process. We never look at just one thing; we are always looking at the relation between things and ourselves. Our vision holds the world in a circle around itself, constantly shifting and questioning. Each time we see a sunset, we know the earth is turning away, yet the sight never quite fits the explanation. This gap between what we see and what we know is where art lives — inviting us to engage, to challenge, and to find new meaning with every glance.
by Anushree Ghosh Contemporary art reinvents itself every moment and has evolved exponentially with creative extractions from popular art sources like folk art. The artist’s […]
by Monojit Lahiri Phew! From “Thank God you’re not one of those small-town, Vernac types, dear boy” to “Oye angrez, Hindi aati hai?”…we’ve indeed […]
by Avijit Dutt The most telling image is of this towering intellectual holding up a poster of him being an Urban Naxal too! Protesting the […]
