Surendra Pal Joshi (1955-2018): One Who Softly Pinned Safety Pins

Surendra Pal Joshi is no more. Diagnosed with brain tumour he had been in the intensive care unit for a while and when he passed away yesterday night he was just 63 years old. Perhaps for the elitists in the Indian art scene his name did not matter much but for the moderate ones his personality and art carried some weight. He had surprised the art circles where his was a familiar name with his bold array of experimental works done during the last six years of his life… reminisces Johny ML


When a Woman Artist Stands on Her Own: Usha Ramachandran

Being a senior sculptor and artist has never stopped artist Usha Ramachandran from finding her way and making her mark in the art world. The simplification of the form and theme has taken Usha Ramachandran to the galaxy of bigger stars of sculpture like Brancussi and Giocometti.. says Johny ML in his Editorial today.

Gandhiji as a Conceptual Artist and the Residency Circuit Artists in India

Many of our young artists fail thoroughly in life and career though they feel the seeming victory in facebook, mainly because of this; they go abroad for 33 days come back and try to do art like what they have seen there. There is a constant replication of the same for the sake of feeling international. That is bound to fail. That’s where Gandhiji becomes important as an artist. He looked around and saw things. With is heightened imagination, sense of purpose, mission, vision and die hard romanticism he conceptualised them and gave them symbolic forms..says Johny ML in this Editorial

The Sudden Birth of Galleries in Fort Kochi: Who is Midwifing Them?

There is an interest of somebody to move the art activities to Fort Kochi completely. And could it be the result of the futuristic thinking that the Durbar Hall, one of the venues of the KMB may be reclaimed by the artists through the help of the Lalitha Kala Akademy? Is it a ploy to divide the opinion of the artists who do not totally agree with either Akademy or the KMB? Is it a way to create more spaces for the artists in Fort Kochi so that the mainland would be abandoned and an exclusivity would produced around the location and aesthetics within Fort Kochi? Who is the manipulator behind these moves? Is it a part of legitimizing certain art activities?