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Editorial It has been an enriching and rewarding journey over the last three months as I sat on my table editing the three issues of Art Etc. news & views dedicated to Protest Art. I have observed much and remembered more, but what excited me most was the way I came across and learnt so many things. |
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Creative Impulse
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Revisited
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Feature a |
Ceative Impulse The Inner Voice
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Collectible |
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Collector's Corner
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Market Monitor
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There is a huge gap between Ravi Varma and KCS Paniker in the history of Kerala art. Most Kerala artists studied under KCS Paniker in Madras except for Madhava Menon, K. G. Subramanyan and A Ramachandren (they studied in Santiniketan till the 70s). The kind of art practiced in Madras was very different from that of the progressive artists of Mumbai or the rest of India. The art practice of Madras artists was deeply rooted in Indian philosophy.....
Art with a political or cultural purpose, be it Agitprop or protest art, remains a mere chimera and is ineffective if it is confined to high art, a domain of the elite. Genuine effective resistance comes from the universalizing of protest. Propaganda and posters become focal points or the teleological locus for such discontent and assist in converting discontent into resistance....
Protest art in a contemporary sense calls for the use of art as a medium to project and express an innate idea which is eventually bound to create a shift in the understanding of the public. It, in many ways, is a silent form of portraying a thought without the adaptation of extreme means simply put, art takes the place of a spokesman for the artist, juxtaposed with the artist's personal style. Modern protest art rose to high focus especially in the sixties, when art found space beyond galleries and museums and positioned themselves in places freely accessible to the public. In India, although the use of art (to protest) has been rather gradual......
Though David Diop (1927-1960), the writer of this iconic poem, didn't coin the term Negritude, it embodies both Black ideology and the protest of the 20th century most succinctly. It's not just race pride that the poet wishes to highlight, though he certainly does that, particularly in the last stanza, calling attention to “that young and sturdy tree” among “white and faded flowers” that “puts .
Heralded by the regnant Prince of Wales, Edward VII as a 'Joaillier des Rois, Roi des Joaillier', the proud and distinguished history of the Cartier aesthetics is as resplendent and extravagant as the literal translation of these famous words. Translating to 'Jeweller of the Kings, King of Jewellers', the Cartier line of watches, jewellery and luxury accessories have enthralled royalty and hoi-polloi alike, and has been celebrated all across...









