September 25, 2020

Yashodhara Dalmia

  • For A Commune, Not A Circus
    For A Commune, Not A Circus

    In a catharsis of sorts, Krishna uncovers the cruel exclusivity that infects classical arts, keeping out...

  • Sad In Bright Clothes
    Sad In Bright Clothes

    Visiting Amrita Sher-Gil’s art on her birth centenary

  • Beholder’s India
    Beholder’s India

    A gallery of Indian landscapes—from the orderliness of the Company School to modernists’ abstractions in...

  • The Delhi Art Haat
    The Delhi Art Haat

    Picasso, Dali, Yoko Ono.... the India Art Fair is bigger than ever

  • Pablo, The Bull
    Pablo, The Bull

    Work from Picasso’s most creative phase, 1930-37, comes visiting

  • Equus Interruptus
    Equus Interruptus

    The vigorous credo of India's most famous painter saw him galloping in pace with the march of time

  • Masters Of The Grotesque
    Masters Of The Grotesque

    For the first time, Indian and European greats exhibit together

  • White Shadows
    White Shadows

    A rare Amrita Sher-Gil study of rural women is sold for a record Rs 6.9 crore

  • Forlorn Faces, Close Up
    Forlorn Faces, Close Up

    A post-9/11 dread fills Bhupen Khakhar's poster-faces, says Yashodhara Dalmia

  • Eavesdropper's Delight
    Eavesdropper's Delight

    The larger-than-life artist has been humanised in this handsomely-illustrated book.

  • Arrested Kinetics
    Arrested Kinetics

    A tribal artist's suicide in a Japan 'museum' reopens old wounds

  • Celluloid On Art Paper
    Celluloid On Art Paper

  • Very Sweet Medina
    Very Sweet Medina

    A Pakistan in ferment reveals itself at a London exhibition

  • Keehn Eye On India
    Keehn Eye On India

    Way before Sotheby's, the Keehns were patrons of Indian art

  • Of God And Beast
    Of God And Beast

    Tyeb Mehta reinvents Mahishasura in a modernist metaphor

  • Between Multiple Worlds
    Between Multiple Worlds

    Themes of decay and regeneration find an inventive global idiom

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