Abridged version of Ranjan Kaul's essay for the catalogue of Avijit Dutta's solo exhibition "[un]Seen Labour[er" at Art Heritage Gallery, New Delhi.

Johny ML reflects on the current trend of big-sized artworks seen in Indian airports, gallery spaces such as in Bikaner House, their nature and the reasons for this, and and the impression they make.

Rajesh Eknath shares his experiences and recollections of the moments spent with Umesh Verma at Garhi Studio, as well as Verma's contribution and relevance to the Indian art world.

John Elliott reviews the recent solo exhibition by Anish Kapoor held at London's Hayward Gallery, which included his most recent huge red bulbous sculptural installations.

John Elliott reviews the recent solo exhibition by Anish Kapoor held at London's Hayward Gallery, which included his most recent huge red bulbous sculptural installations.

Ranjan Kaul writes on the amazing use of tattoos and other symbols by pro-democracy activists as part of their ongoing pro-democracy resistance and civil disobedience movement in Myanmar. The article also gives a brief account of the Spring Revolution in February 2021 following the military coup and the arrest of the State Counsellor Aung San Suu Kyi.

John Elliott reviews the ongoing exhibition by the Singh Twins in the Shirley Sherwood Gallery of Botanical Art in Kew. The show was the result of the invitation to the Singh Twins by Britain's Royal Botanical Gardens to explore Kew's archives and the links to colonisation.

Poet performance storyteller, and maker of masks, Tansy Troy uses as reference woodcuts of Thomas Bewick, published as "Bewick's Birds", and Ranjan Kaul's series of paintings inspired by Shelley's allegorical, protest poem, "Masque of Anarchy" to speak about our turbulent times and the need to appreciate the interdependence between all life forms. She revisits Shelley and his poetry, starting from his earliest childhood to understand the influences and sensations that shaped

Catalogue essay by Ranjan Kaul for the group show, "Transcendent Continuum . . . " held at Visual Arts Gallery, IHC, 13 to 17 November 2024.

Murtaza Ali Khan reviews "The Girl with the Needle", a film based on the story of Danish serial killer, Dagmar Overbye, in post-WW1 Denmark.

Elena Rubinova examines the various problems concerning the preservation, protection and ownership of street art and the possible solutions.

Anodo discusses his unease with how AI is shaping up, the impact of AI on the future or art, and the related ethicalities and legalities.

Elena Rubinova writes of internal and external censorship, as Russophobia, sanctions and a "cancel culture" sweep the Russian art scene.

Ms Kiran Nadar, Chairperson of KNMA, talks of her art collection, KNMA and its future plans, and her passion for bridge.

Complete text of the lecture by Israeli architect Ada Karmi-Melamede delivered as the fourth in The Cyrus Jhabvala Memorial Lecture series.

Alka Chaddha Harpalani writes about Kavita Nayar, her sublime creations and how she reconciles the loss of her daughter through her art.

Monish K. Das writes about the Soviet film-maker, Sergei Eisenstein, and his curious encounters with Hollywood studios and personalities.

The Founding Partners of artamour discuss their journey and the objectives of the blog, as they celebrate the milestone of 100 posts.

Sandeep Biswas writes an insightful and thought-provoking essay that dwells on the uniqueness of an artist's visual language.

In the concluding part of his essay on how artists have responded to socio-political events, Ranjan Kaul discusses art in public spaces.