Open’s staff writer Mihir Srivastava likes to sketch nude portraits of regular people—men and women, strangers and friends, thin and fat. Some are disgusted when he asks them if they would pose for him. But, surprisingly, many agree. Why?
This is cinema that can make a masochist wince. So how come it is acquiring fans who know—or ought to know—good cinema from bad?
From Raza to Husain to the leader of the Bombay Progressives, FN Souza, nobody really knew what modern art or modernity was. It was Paris and its influences that gave their amorphous ideas a sense of form and identity
British-German artist Tino Sehgal’s work ‘creates’ conversations between strangers in urban societies. Someone should tell him about Kolkata’s famous addas
Neville Tuli on the difficulty of raising Rs 10 lakh in cash while Osian’s had Rs 1,000 crore in assets, and the bad press that he gets
Namitha, the siren from Surat who reduces south Indian men to slavering wrecks
An exhibition built around words, their trickery and playfulness, their horrifying power to harm and maim, and their magical ability to conjure imaginative worlds
How large and comprehensive should a retrospective be? Three current shows, on the works of KK Hebbar, Krishna Reddy and SH Raza, offer answers
A stage adaptation of a poem that retells a Mahabharata myth in a modern context
An account of the strongman’s visit to India in 1904, excerpted from David Waller’s forthcoming book The Perfect Man