Ranjan Kaul reflects on the work of Antony Gormley while presenting the insights given by the artist in his webinar talk organized by KNMA.

Ranjan Kaul reflects on the work of Antony Gormley while presenting the insights given by the artist in his webinar talk organized by KNMA.

Senior Indian artist, SK Sahni responds to the artamour questionnaire and reveals his fascination with lines that occupy his canvas space.

Harshil Patel's work exists in a space between tradition and abstraction. His exhibition, Transposing Myths is reviewed by Shujaat Mirza.

Olga Bozhko uses knitting and burnt wood for creating political art with common objects. Here's her response to the artamour questionnaire.

Abhimanyu Kumar dwells upon the problem of art and its reception by the Public.

Shujaat Mirza reviews the the ongoing exhibition “Abstract” by artist Ajay Chaudhury at the Hutheesing Visual Art Centre, Ahmedabad.

Ankon Mitra, the Oritecture artist, responds to the artamour questionnaire and reveals the tales within the folds.

Shantala Palat chooses Warli and Saura from India's folk and tribal art forms for the first part of her series on Folk and Tribal art.

P Achari makes case for a more radical form of criticality in art that moves away from affable eulogies and rejects cultural homogenization.

Senior Indian artist Prem Singh responds to the artamour questionnaire

Shujaat Mirza writes on the current Online art space and how Covid has made the online space more relevant today and what lies ahead.

Online show of drawings, prints and mixed media works by Anandamoy Banerji, Dattatreya Apte, Kavita Nayar, Moti Zharotia and Sushanta Guha.

Review of Kishore Thukral's photography exhibition of the beauty of Spiti in the Himalayas at India International Center, New Delhi.

Ranjan Kaul clears common misconceptions in his essay 'Recognizing Good Art'.

Ritika Ganguly brings Bhasker Chitrakar's satirical art, that captures the coronavirus within the scope of the folk art form of Kalighat.

Performance Art Project Asia, organized by HexxyDuxxyBox (India) and Rah Art Residency (Iran). Part 3 of the 3 part review by Aakshat Sinha

In the concluding part of “Sense of Sensitivity of Contemporary Art”, Ranjan Kaul explores two new trends.

Performance Art Project Asia by HexxyDuxxyBox (India) and Rah Art Residency (Iran). Part 2 of the 3-part review by Aakshat Sinha

“Sense and Sensitivity of Contemporary Art” Part 2 discusses how "viewing art can be a highly subjective and immersive experience."