ABOUT MYSELF

Anil Kumar central theme of visual investigation is to see how visuals and words, both written and spoke, have mutual exchange values and are always committed to each other, as though inevitably. He used Graphic Novel media to exemplify this as well.

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A Reservoir full of Dam(n) Pleasure

A Reservoir full of Dam(n) Pleasure

Manchinabele dam or reservoir or however you address it, is located just thirty kilometers away from Bengaluru. This distance-measure is to be done in terms of time and not distance, owing to an everlasting stampede called traffic, specific to this city.

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Readymade Answers to Eternal Artistic Quests

Two important questions about art history’s relation to art education are: “when is a work of art complete?” and “how did an artwork get entangled within a single framework?” The former is a philosophical quest, unanswerable, similar to the questions of life, life after death, eternal quest through art; and the like. The latter is very history-specific. In other words, how, why and when did a diptych come to exist? In...

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ARTICLE: To Draw is to Articulate, Not Yield!

ARTICLE: To Draw is to Articulate, Not Yield!

To draw is a verb, more than a noun, in the visual cultural representation of India. Despite the historic uncertainties of its origin in the Indian art context, its relevance with political independence is deeply etched. The new nation’s political will was to act (as a verb, like ‘to draw’) and taking stock of its past a la Coomaraswamy among others which was itself an act of drawing a rich, past construct, unique and specific to Bharathvarsha....

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Cast(e)ing Class and Colour into Visual Discourses

Cast(e)ing Class and Colour into Visual Discourses

(Article first published under the same title in www.cartanart.com on 16th June 2014; edited by Johny M.L and Sushma Sabnis) Discourse on caste politics in Indian visual culture is a taboo, a sacrilege while it might not be actually so in practice. The reason for this, perhaps, is the lack of clarity about what casteism itself is, in relation to visual representational politics. From this perspective, the lack of a genuine dialogue around...

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What is right with Indian Art History?

What is right with Indian Art History?

Two art historians of the same generation share a lot more in-between-lines, while silent interventions and interventionist silences of issues between them marks the inevitability of being able to see but not surpass the boundary of institutions that control the way we think. Becoming liberal or conservative about visual thinking is also a certain institutionalization!

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