This volume presents a study of the life and work of the Gond artist Jangarh Singh Shyam. 0Before any sound critical framework could be evolved around the phenomenal artist Jangarh Singh Shyam as the originator of an extraordinary individualistic idiom of painting, ruthless market forces regrettably came to dominate his art and Jangarh himself became their first casualty. While trying to finish a large commission at a museum in Japan under adverse circumstances, Jangarh committed suicide in 2001. He was 40.0The book probes the efficacy of extra-cultural interventions into an individual artist?s operative and relatively well-grounded indigenous cultural tradition, and asks how the latter interacts with the new, while intentionally reinventing itself. Equipped with a powerful sensibility and a profound nostalgia for the world of his native village of Patangarh that he left behind, Jangarh created, over two decades in Bhopal, a sea of paintings inhabited by gods and demons, shamans and priests, birds and animals?crabs, scorpions, lizards and crocodiles?as well as forests, trees and shrubbery. The entire realm that had remained latent in his mind?s eye over the years thus came to life, image by image, in response to the new and alluring space of paper, canvas or the expansive walls that he turned into a vast and unique conjuror?s archive?opening up a personal space from where to speak.

A stunning visual travelogue by an Indian tribal artist showing London as an exotic bestiary.

* Explores the aesthetics, themes, and art historical relevance of India's greatest tribal artist, Jangarh Singh Shyam* Includes a catalogue raisonn�Jangarh Singh Shyam was born in the early 1960s to an impoverished Gond family in rural central India. Discovered and nurtured by the renowned artist J. Swaminathan at Bharat Bhavan, the multi-arts center in Bhopal, Jangarh rose to global prominence after participating in a seminal art exhibition in Paris. After a brief career spanning only 20 years - and by then recognized as one of India's greatest tribal artists - Jangarh committed suicide in 2001 at the age of 39. His work, informed by the Gond deities of his childhood, defied established categories and inspired a contemporary school of indigenous painting, which continues to attract admirers in India and abroad. Exploring his aesthetics, themes, and art historical relevance, this book also looks at the relationship between the artist and his early patrons, the collectors Niloufar and Mitchell S. Crites. Dr. Aurogeeta Das closely examines the huge body of work Jangarh left behind in The Crites Collection, enriching her study with references to works in other private and institutional collections. As such, she also captures early practices of collecting contemporary folk and tribal art in India.Contents: Preface by Mitchell S. Crites Patangarh to Paris, New Delhi to Niigata;Images ISamvega, Aesthetic Shock: Jangarh's Artistic Evolution;Images IIThe Enchanted Forest: Jangarh's Thematic Range;Images IIICataloague Raisonn�: Paintings and Drawings from the Crites Collection.

Contributed articles.

Autobiographical reminiscences of Venkat Raman Singh Shyam, Pardhan Gond artist in collaboration with S. Anand.

A visual ode to trees rendered by tribal artists from India, in a handsome handcrafted edition.

Tegneserie - graphic novel. On the life and achievements of Bhimrao Ramji Ambedkar, 1891-1956, Indian statesman and social reformer

Taking South Asia as its focus, this wide-ranging collection probes the general reluctance of the cultural anthropology to engage with contemporary visual art and artists, including painting, sculpture, performance art and installation. Through case studies engaged equally in anthropology and visual studies, contributors examine art and artistic production in India, Sri Lanka, Pakistan, Bangladesh, and Nepal to bring the social and political complexities of artistic practice to the fore. Demonstrating the potential of the visual as a means to understand a society, its values, and its politics, this volume ranges across discourses of anthropology, sociology, biography, memory, art history, and contemporary practices of visual art. Ultimately, Intersections of Contemporary Art, Anthropology and Art History in South Asia simultaneously expands and challenges the disciplinary foci of two fields: it demonstrates to art criticism and art history the necessity of anthropological and sociological methodologies and theories, while at the same time challenging the “iconophobia” of social sciences.

‘I wish I had never met you. You’ve been nothing but an inconvenience.’

Part kitchen-sink realism and part rumination on the nature of love, A Handbook For My Lover is a revealing and explicit memoir of a young Indian woman’s erotic affair with a photographer thirty years her senior.

With prose that is charged with intensity and sensuality, this candid exploration of love, lust and becoming heralds a provocative new talent in contemporary Indian literature – one of an independent woman unafraid of her sexuality. Rosalyn D’Mello is India’s Anais Nin.

The modern Indian woman’s journey into self-awareness through sex, heartache, desire and fulfilment has found a brave new voice in Rosalyn D’Mello.

The Hindustan Times

D’Mello lays down her only law – excess. She wants every pleasure of the flesh and she won’t apologise for it.

Elle India

About the Author

Rosalyn D’Mello is a widely published freelance art writer based in New Delhi and was the editor-in-chief of Blouin Artinfo India. She is a regular contributor to Vogue, Open, Mint Lounge, Art Review and Art Review Asia. Nominated for Forbes’ Best Emerging Art Writer Award in 2014, she was also shortlisted for the inaugural Prudential Eye Art Award for Best Writing on Asian Contemporary Art in 2014. She was associate editor of The Art Critic, a selection of the art writings of Richard Bartholomew from the 1950s to the early 1980s and was a member of the jury of the Prudential Eye Art Award 2015. A Handbook For My Lover is her first book.