17 Aug 2017

In Silence the Secret Speaks by Seema Kohli

The Golden Web
By 
Anjana Chandak

Anjana Chandak responds evocatively to the narrative performance by artist Seema Kohli, held recently at the National Gallery of Modern Art (NGMA) Bengaluru.

Poetry is not when you find a word rhyming with a word but poetry is created when you can find a word rhyming exactly with your feeling…And this is what artist Seema Kohli, who donned the cap of poetess made me feel, performing her poetic narration, ‘In Silence the Secret Speaks...’

The mirror pool at the NGMA provided the perfect womb to nurture the spirit of the artist who merged with the art through her own reflection. She transcended her paintings into verbal form through her palette of myriad emotions, painting it line by line; creating and narrating.
In Silence the Secret Speaks by Seema Kohli, narrative performance, Bangalore, writer Anjana Chandak for Art Scene India, Images courtesy writer
Her poetry contextually speaks about the myth of our own existence… Maya. As the mystic weaver keeps on weaving, we enter a world where there is a constant cycle of Creation, Evolution and Destruction; which the poem beautifully describes as a ‘Parikrama’. The dancer represented her free spirit, moving swiftly in harmony with her words. A piece of cloth, a woven rug, based on Seema Kohli’s ‘Tree of Life’, is hung as a perfect backdrop reminding us that the rhythm of life is nothing but the sound of the eternal loom weaving the cloth we embody, as the first robe to the shroud.
In Silence the Secret Speaks by Seema Kohli, narrative performance, Bangalore, writer Anjana Chandak for Art Scene India, Images courtesy writer
The poetry revolves around the manifestation of dualities of our existence; the binaries of man and woman, nurturer and nature, good and evil, each essential to complete the cycle of life through the eyes of real and surreal.

“The golden womb with its umbilical cord, the lotus stems. Its creation in muddied waters resulting in the flowering of the world and a state of enlightenment…”
Through symbolism her universe emerges from this mythical womb and we flow along as she embarks on this journey which recognizes the cosmic essence within the worldly.

Seema Kohli refused to be judged on the parameters of poetic perfections and called this as ‘Broken Prose…’, straight from the heart.

“As an artist I am like that air, bound to flow in every space, taking different forms.” It was a soulful experience to witness Seema with verses rolling down her hands just as flowing time.

In Silence the Secret Speaks, a narrative performance by Seema Kohli, was held at the National Gallery of Modern Art (NGMA) Bengaluru on Sunday August 13th 2017supported by Gallery Veda, Chennai


About the Author: Anjana Chandak is a contemporary artist based in Bangalore. A B-tech graduate in interior design Anjana is passionate about poetry and is exploring her spiritual self through her various avenues of expression.

All images are courtesy the writer
 
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9 Aug 2017

Reasons To Visit The 2017 Venice Biennale

Reasons To Visit The 2017 Venice Biennale

by 
Shraddha Rathi

Contemporary artist, Shraddha Rathi shares her experience from her recent visit to the Venice Biennale and discovers how this international art exhibition combines the performing and visual arts in an ideation lab to create an ambience that involves all the senses.

Venice Biennale, Image courtesy Shraddha Rathi, Art Scene India
La Biennale de Venezia, the 57th international art exhibition titled ‘Viva Arte Viva’ curated by Christine Macel celebrates art, artists and the process of creation. Although, contemporary art documents and captures today's reality, the world itself is transforming and evolving with every passing moment. At this exhibition too, at times the exhibits reflect facts and reality, or give voice to a purpose, while at other moments it just celebrates the present.

This Biennale is mostly about an idea, where the material is a powerful medium of expression. The inventive use of materials to express an idea while playing with its strengths creates expansive, ingenious and successful forms of communication. In a cornucopia of materials, you experience a vast variety ranging from glass, bone, concrete, metal, wood, coffee and a whole lot of textile based works, apart from paintings, photographs and videos.

No two people will experience the Biennale in the same manner. As I write, I realize that this exhibition is a laboratory of thought processes, in a way that unless you read about an artwork you are unable to enjoy it to the fullest. I feel that textual corroboration must not be essential for an artwork and a work should speak for itself. However, this may not always be possible.

I’m sharing with you a few works that really stood out for me.
Phyllida Barlow’s installation for the British Pavilion, ’Folly’ at Venice Biennale, Image courtesy Shraddha Rathi, Art Scene India
British artist Phyllida Barlow’s huge installation for the British Pavilion, ’Folly’ is densely packed, almost overflowing and dominating the space. It reminds us of how we often fail to comprehend the overwhelm that towering structures can create in an urban context. With its size and bold colours it challenges audiences to explore their own understanding of the sculpture.
 ‘It’s a forest’ - a solo exhibition by Takahiro Iwasaki at Venice Biennale, Image courtesy Shraddha Rathi, Art Scene India
Turned upside down, ‘It’s a forest’ - a solo exhibition by Takahiro Iwasaki at the Pavilion of Japan has wooden reflection models of Japanese temples. Mirrored upside down it recreates the presence of the water body on which the original building stands. It urges you to reflect upon a host of concepts of reality and ambiguity, and to me even virtual reality.
 ’Theatrum Orbis’ curated by Semyon Mikhailovsky at Venice Biennale, Image courtesy Shraddha Rathi, Art Scene India
’Theatrum Orbis’ curated by Semyon Mikhailovsky meaning ‘theatre of the world’ is truly theatrical in both its concept and form, bringing together sculpture, installation, video and sound at the Russian Pavilion. There are figures which express the contradictory nature of power, taking shape as mechanized hybrids- two headed birds. Sculptures of dolls, dummies and soldiers explore and narrate contemporary issues, including international terrorism. Impactful, it is designed in a way that every viewer is affected.
Gal Weinstein at Israel's pavilion at Venice Biennale, Image courtesy Shraddha Rathi, Art Scene India
At Israel’s pavilion, time stands still as a moment is encapsulated. Gal Weinstein has experimented with coffee, sugar, polyurethane, steel wool and graphite to discuss the relationship between creation and destruction, progress and devastation. Again, the scale of the installation creates a memorable experience. 
 Lorenzo Quinn near the Rialto Bridge at Venice Biennale, Image courtesy Shraddha Rathi, Art Scene India
In this group of creative thought processes and well executed works don’t miss the supporting hands created by artist Lorenzo Quinn near the Rialto Bridge. One of the many collateral events, this work creates a visual statement about the impact of climate change and the rising sea levels in the historic city of Venice.

The Venice Biennale, on till the November of 2017, coupled with the history and charm of the floating city of Venice makes it an unforgettable experience ever.
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About the Author: Shraddha Rathi is a contemporary artist based in Bangalore. She has a background in classical dance and architecture,which has contributed to her unique sense of aesthetics in visual arts.

All images are courtesy the writer
 
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13 Jul 2017

Art and the Question of Authorship and Ownership in the Internet Era

 Art and the Question of Authorship and Ownership in the Internet Era

by  
Narendra Raghunath

In this article, Narendra Raghunath, visual artist and faculty, Srishti Institute of Art, Design and Technology, Bangalore draws on personal experience and discusses the complexities of authenticity, authorship and ownership rights of art and the 'image' in the contemporary art world.

A couple of years ago, I received an odd request from an unknown person in New York, to authenticate two works of mine. The work looked like mine, except it had some colour fading. It also had my name on the left bottom part in English, as I often write. The only problem was I had no Idea of such a sale or transfer. On further inquiry, I learnt that he sourced the work from a struggling Indian art student. During those days, if anyone would image search my work, Google strangely enough, showed a popular Hollywood actress’s name! This Indian student smartly used that opportunity and somehow managed to convince this poor chap that this actress was a big collector of my work.

Art and the Question of Authorship and Ownership in the Internet Era by Narendra Raghunath, Art Scene India
During that period, I also had a website where I occasionally published some of my explorations with the caption that ‘none of the works are for sale’. This smart student utilized all these to his advantage to fleece this investor – for a cool $4,800 - for the downloaded prints. But, once the collector began to have doubts about the signature in the authentication letter, he contacted me for verification. The entire episode filled me with mirth. I informed the buyer that there was a colour issue with the print and offered to send him a new set of prints of the same works with my pencil signature (courier costs to be borne by the collector). He happily agreed, and as I did not want the Indian student to get caught in a serious crime in the US, I left it that.

This entire episode provoked me into a deep philosophical question of authenticity of authorship and ownership of an artwork. History of art is filled with stories where the artists and their families died in poverty while their work, later on, made many others billionaires.

If one would Google, one will find millions of photographs of the same artwork with million others’ copyright watermark on it. Cropped differently (composition) with altered colour schemes and digitally enhancements; most of them render the original work into oblivion. Before one jumps into an ethical or moral judgment about the entire affair, one may have to consider some serious philosophical artistic issues involved with image making in this entire affair. Allow me to explain in detail.

What is original in art - Labour/craft or concept?


This is a complicated question. In Western art, from the days of guild during Renaissance to today’s postmodern artists, a large section of artists would not be able to claim authorship of the craft of labour. Most of them are made to order or are supervised. So, one may have to safely discount that claim from the originality of art. Then comes the conceptual authorship. Usually in an artwork, there are three ways an artist executes an artwork – translation, transformation and transgression. Considering these three areas are largely dealt by curatorial conceptualization in postmodern art, it leaves very little room for the authenticity of authorship of the artwork. Whereas in a film the director is only one of the authors in the creation of the film and due credit is given to others in the process of film making. In art, unfortunately, a single individual as the artist often claims the whole authorship. One would not hear the name of the craftsmen or other people involved in the execution of artworks. There are many conceptualizations involved in every artwork- technical, spatial, curatorial and finally aesthetical conceptualizations. In other words, it becomes a problematic argument when one considers the authenticity of authorship by a single individual.

Work of art and its image reproductions


As I mentioned earlier, on the Internet one will find millions of image reproductions of the same artwork with hundreds of copyrights for photography. In other words, the authenticity of authorship gets separated from artwork in its image reproduction as a photograph. Considering both are artistic mediums and artists execute both, one cannot claim the authorship of the other. In other words, one has the artistic liberty for a selective recreation of another artwork in its image reproduction!

From Greek time onward, this viewer prerogative to reinterpret an artwork as observer in observer-observed and observation triangulation is already a settled subject.

This makes the authenticity of authorship complex phenomena in art world. If an artist makes claim of authorship on a craftsman’s labour in transforming a media ( kindly note an artist is not selling art but sells its material transformation ) and a photographer claims authorship of its image reproduction and then a digital media artist claims authorship of reproduction’s reproduction, in today’s contemporary art world authenticity and authorship becomes a complex issue.

From that US-based Indian student (although I do not know who this person is) I started experimenting with transgressing into master’s works to transform them into historical and theoretical artworks. Still, as I am an old school ethics follower, I do not claim ownership of these works. I only claim the viewer’s transformative inference authorship in such artworks. My experiments are still going on, getting more and more insights into this complex world of authorship and ownership.

Considering no collector or buyer can claim ownership of art but can only claim the ownership of artwork, in today’s world these collectors cannot claim ownership of its image reproduction, unless and until they commission it or buy its rights. Considering artworks are reproduced in critique and reviews in textual format and it is legal, artists cannot take away the viewers inference right in image format as well.
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About the Author: Narendra Raghunath is a Visual Artist based in Bangalore. He is also a teaching faculty at Srishti Institute of Art, Design and Technology, Bangalore.  

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24 Jun 2017

Art News: Bangalore Art Scene

'The Unity of Opposites' by Tanya Mehta at Gallery Sumukha

The Unity of Opposites by Tanya Mehta at Gallery Sumukha
 A nationally and internationally exhibiting artist, Tanya Mehta works with photography and New Mixed Media to realise her vision through technology. She explores the gaps between our different constructions of knowledge – philosophy, art, science, the metaphysical – and finds, in those gaps, bridges. She hopes to take the audience over those bridges to move to the singular reality or truth that exists for all of us. The key is the imagination.

‘Unity of Opposites’ aims to explore the differences between human perception and reality through an understanding of non-dual opposites. Using portals, circular imagery and various looping mediums to depict the infinity of the universe around us, we explore the narrowness of human perception through what we define as opposites but are, in reality, unified.
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NGMA Bangalore in collaboration with BFS invites you to the screening of the films Child as an idea and image in cinema from 25th June 2017 @ 5.00 PM


NATIONAL GALLERY OF MODERN ART BENGALURU
(Ministry of Culture, Government of India)

in collaboration with

Bangalore Film Society

invites you for

CHILD
as an idea and image in CINEMA
NGMA Bangalore in collaboration with BFS invites you to the screening of the films Child as an idea and image in cinema from 25th June 2017 @ 5.00 PM

June 2017 screening of films 

All the films will start @5 pmEntry is Free on first come first serve basis. All are invited!


Children are everywhere in films – the child as a figure, an idea, image, narrative - a contested site of symbolism, romanticisation and controversy. The child is an ambivalent figure flitting between endurance and despair, vulnerability and violence. 

The films in this series examine the world from the child’s perspective. Here we see children who are dealing with serious situation like death, poverty, war and oppression. The films offer unique insights into these tiny minds who are witnessing and at the receiving end of harsh realities of life.  

Sunday 25th June 2017 
Pather Panchali / Satyajit Ray / 1955 / Bengali / 112 minutes

Pather Panchali is an adaptation of a 1929 novel by Bibhutibhushan Bandopadhyay. It was the first part in what became known as the Apu Trilogy, charting the life journey of a young boy in rural Bengal. Lyrical and sensitively observed, Pather Panchali documents the hardships of peasant life and the sadnesses of time passing, but doesn’t stint on the wonders and excitement of youthful discovery.


Tuesday 27th June 2017 

Ivan’s Childhood / Andrei Tarkovsky / 1962 / Russian / 95 minutes

The debut feature by Andrei Tarkovsky, Ivan’s Childhood is a poetic journey through the shards and shadows of one boy’s war-ravaged youth. Moving back and forth between the traumatic realities of World War II and serene moments of family life before the conflict began, Tarkovsky’s film remains one of the most jarring and unforgettable depictions of the impact of war on children.


Wednesday 28th June 2017 

The Spirit of the Beehive / Víctor Erice / 1973 / Spanish / 97 minutes

The protagonist Ana lives in a small village that is showing Frankenstein for the first time. While Ana wonders endlessly about the monster’s intentions, she stumbles upon a wounded revolutionary soldier who is hiding in a barn. The soldier’s death at the hands of the Francoist police, and Ana’s father’s anger over the situation lead to a strange hallucination in which Ana meets Frankenstein’s monster in the woods. Erice’s film is not only a subtle examination of Franco’s power, but it also introduces us to Ana, a dark-eyed child whose powerful gaze represented both an inquisitive youth and a rebellious spirit. Ana examines the world through an escapist fantasy, which takes her away from the realities of war. She represents the innocent generation of Spain that was unaware of Franco’s power and oppression.


Thursday 29th June 2017 

The Apple / Samira Makhmalbaf / 1998 / Persian and Azerbaijani / 86 minutes

The story of twelve-year-old sisters who have been kept confined in their home by their strict religious father and blind mother, who believe exposing their daughters to the outside world will lead to their corruption. It’s a film perched on the line between fact and fiction. Not only is the situation described a real one, but each of the characters in the ‘story’ is played by their real-life counterparts. When social workers force the parents to allow their daughters out into the street, the film documents the two sisters’ tentative first impressions of an outside world that’s so long been denied to them. Directed by Samira Makhmalbaf at the age of only 17, this astonishingly mature first feature combines a swipe at an oppressive society with a joyous ode to awakening senses.

Friday 30
th June 2017 
Kutty Japanin Kuzhandaigal (Children of Mini Japan) / Chalam Bennurakar /1990 / Tamil / 60 minutes 

This documentary is set in Sivakasi, a small town in Southern Tamil Nadu. It is from here and the surrounding villages that 70% of the requirements of the match box industry and 90% of the fireworks industry are produced. The owners of the match box and fireworks factories proudly refer to their town as “Mini Japan”, a self-employed town. This town also prints millions of garish calendars and election posters which are used all over India. Sivakasi has another dubious distinction. It is the single largest concentration of child labour in the world. Nearly 10,000 children, mostly girl children, are employed in Sivakasi to meet the demands of production. It is these children aged between 4 and 16 who are the protagonists of the film. The film is an attempt to portray their everyday lives, the production process and the complex socio-political reasons that contribute to such a large employment of children in this area.
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Ananya Drishya I Presentation by Amshu Chukki | 30th June 2017, Friday @ 6.00 pm | Venkatappa Art Gallery


Ananya Drishya I Presentation by Amshu Chukki | 30th June 2017, Friday @ 6.00 pm | Venkatappa Art Gallery,  Art Scene India
Amshu Chukki's practice ranges from site-specific ephemeral installations to drawing, video and sculpture. In his ongoing engagements with the notion of fictionalized spaces and narratives of dystopias, he is interested in the manner in which the boundaries between the real and illusory can fold into one another, keeping in mind an understanding of the filmic and in particular, the tropes of film noir. Further, questioning the ideas of the 'site', 'site specificity' and 'site informativity', his work tries to invite and involve audiences to speculate on the meaning and nature of the fictionalized worlds brought to life.
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RELOOK [35] : Lectures on Indian Art

Curated by Pushpamala N.

The "People without History": Forms of Cultural Memory and the Post-Colonial Archivea lecture by
Indira Chowdhury
Scholar and Archivist, Srishti Institute of Art, Design and Technology, Bangalore

On Sunday 2 July 2017 at 6.30 pm
at 1.Shanthi Road Studio/ Gallery, First Floor,
Shanthinagar, Bangalore 560027

About the Talk

This presentation draws on my attempts over the last decade and a half to create archives of different institutions and organisations and the insights gained from these attempts into the practice of archiving. Echoing the title of Eric Wolf’s 1982 book, Europe and the People Without History (1983) and drawing on the conceptual framework of Edward Said’s Orientalism (1979), this presentation looks back at the colonial collections of archives and material culture in India and asks in what ways is it possible to put together an archive within a postcolonial context? If colonial discourse defined Indians as being steeped in backward traditions and lacking in history, what conceptual problems do we encounter when trying to assemble an archive of a formerly colonised people? Beginning with my visit to a settlement of snake charmers near Sheopur, Madhya Pradesh, who claimed they knew nothing about snakes, I go on to look at the collection of botanical paintings at Lalbagh, and the subsequent setting up of the institutional archives of the Tata Institute of Fundamental Research, Indian Institute of Management, Kolkata, The Economic and Political Weekly and the Indian Museum. What does the process of archiving tell us about our relationship to the past? In what ways did institutions that originated in the colonial period reinvent their identities post-1947? How do the colonial foundations of academic disciplines shape the way our museums relate to the past? What roles do state interventions and notions of national identity play in the evolving sense of self? Do conceptualisations of education, development and progress erase forms of cultural memory and oral traditions and create reinvented identities? This presentation will attempt to show how we might re-understand the idea of collecting an archive and the critical ways in which we might interpret them.

19 Jun 2017

The 'Reality' of Photo Art Today

   The 'Reality' of Photo Art Today
by
Shibu Arakkal

“The greater the number of people who share a subjective opinion in favour of a work of art, the greater the possibility of that work becoming timeless”

Hiroshi-Sugimoto _ Boden Sea, Image courtesy Uttwil _ https-__fraenkelgallery.com_wp-content_uploads_2012_05_Hiroshi-Sugimoto
Hiroshi Sugimoto Boden Sea
Beginning this article with a quote of my own might seem self-absorbed but the quote itself is my distilled understanding of my learnings about art, having spent the greater portion of my life around art and artists and to later specialising in it as my medium of practice.

This article is my response to John Raymond Mireles’ article on petapixel.com titled ‘Why Photographers Don’t Get Modern Art’, which I found touched on many aspects of Contemporary Art which are close to my heart.

Before I make my way to contemporary photographic art, I would like to mention my dad’s (Yusuf Arakkal) words (possibly someone else’s originally), who is no more and someone who was one of the very significant and relevant contemporary artists from post-independence India. He used to say that any work of art will only be judged by time and no one else. Much as I too believe that, the statement also seems to put current art in a bit of a quandary in the sense of what is widely agreeable, certainly about the credibility and calibre of art done over the last thirty odd years. As Mireles points out that most of the art done over this period, varying in styles and mediums has been rather vaguely termed Post-modernist. Noting Mireles’ article, the most common statement a lot of this kind of art has been faced with from its popular audience is ‘I could have done that too’, to which I go back to what my dad used to say, ‘But you didn’t’.

If I were to name widely agreed-upon greats as Michelangelo, Da Vinci, Rembrandt, Salvador Dali of a few, I would quite confidently say that there would be little subjectivity about the ‘great’ calibre of their work, not just in the art world but even with the art literate. This level of consensus on a type or specificity of art, I fear often comes after the artist’s time and in his day leads to much debate and quarrel about the true ‘greatness’ or calibre of the art itself.
Edward Steichen's 'Road into the Valley' | Negative 1904 / Print 1906, Edward Steichen _ Road into the Valley _ negative 1904_ print 1906 _ commons.wikimedia.org.jpg
Edward Steichen's 'Road into the Valley' | Negative 1904 / Print 1906

Man Ray's Portrait of Dora Maar | 1936, Image courtesy Man Ray _ Portrait of Dora Maar, 1936 _ in.pinterest.com
Man Ray's Portrait of Dora Maar | 1936

Irving Penn's Skulls | Late 1970s, Image courtesy http://www.highsnobiety.com/2017/01/05/irving-penn-photographer/
Irving Penn's Skulls | Late 1970s
Bill Brandt's 'Coal Searcher Going Home to Jarrow' | 1937, Image courtesy Coal-searcher Going Home to Jarrow, Bill Brandt, 1937 _ moma.org.jpg
Bill Brandt's 'Coal Searcher Going Home to Jarrow' | 1937
Up until the point when photography arrived on the scene, painting seemed to be the most ‘realistic’ art form but it obviously couldn’t compete with photography in that department. From then on painting seemed to get fervently preoccupied with philosophical and conceptual interpretations of reality in their widest as well as technical sense.
Annie Leibovitz | The Three Ghost, Image Courtesy http://mymodernmet.com/annie-leibovitz-disney-dream-portraits/
Annie Leibovitz | The Three Ghosts
Although photography due to its ‘realistic’ character became a medium of documentation, there have been several photographers who chose to use the medium artistically. Of the ones who have, I count Edward Steichen, Man Ray, Irving Penn, Bill Brandt and in more recent times, Annie Leibovitz, David LaChapelle, Cindy Sherman amongst others who seem to have succeeded by the earlier stated benchmark of subjectivity.






David LaChapelle 'Icarus' | 2012, Image courtesy DAVID LACHAPELLE _ ICARUS, 2012 _ https-__www.facebook.com_librairiegalerielouisrozen_photos_a.759648724055310.1073741827.759639670722882_1075277845825728__type=3&theater.jpg
David LaChapelle 'Icarus' | 2012
 
Cindy Sherman's 'Untitled #305' | 1994, Untitled #305, 1994, Image courtesy Cindy Sherman _ www.arthistoryarchive.com.jpg
Cindy Sherman's 'Untitled #305' | 1994
As Mireles mentions, stalwarts like Ansel Adams became the leaders of a modernist movement in photography, creating a style while crafting techniques that are relevant to this day.

Ansel Adams | Aspens Northern New Mexico | 1958, Image courtesy Ansel Adams, Aspens, Northern New Mexico, 1958 _ anseladams.com.jpg
Ansel Adams | Aspens Northern New Mexico | 1958
Until recently all two-dimensional visual art forms aiming to recreate or interpret reality have incorporated visually appreciable elements such as the subjective use of colour and contrast, creating an idea of composition relative to the viewing frame of the work itself, the use of lighting as an image enhancing element, amongst other things. This approach made the artwork distinctly ‘artistic' as opposed to faithfully realistic.

Even Photorealism in painting was a visual depiction of the way the camera or the lens saw reality with all the subjective artistic enhancements.

In photography, from Pictorialism to Modernism there was always a conscious effort made to heighten, if not strengthen these aspects of a photograph that made it more appreciable albeit not very realistic. To the point, that true realism was never seen as very interesting a visual idea.

With all art that is very ‘now’ such as a lot of new media or contemporary experimental work, I can’t honestly tell if the demand is due to the hype, which seems to be almost critical to the success of the work or if it is just the reality of the market. I do however feel strongly that in years to come, classical ideas of photography will stand on its own, even if in its own niche. And I think will also be regarded for its unique sensibility and aesthetic, simply because it has a visually rich tradition and processes, unlike any other print medium.
Thomas Demand's 'Clearing' | Gallery Display, Image courtesy Thomas Demand _Clearing_ 2 _ artblart.com.jpg
Thomas Demand's 'Clearing' | Gallery Display


Thomas Demand's 'Clearing' | Venice Biennale Display, Image courtesy Thomas Demand _Clearing_ 1 _ in.pinterest.com
Thomas Demand's 'Clearing' | Venice Biennale Display
I see photography's lead into new styles (or movements, we wait to find out) in the digital era that are either a very real interpretation of reality, visually faithful, devoid of artistic enhancements i.e. as the human memory remembers a seen visual, one that tries to harness the power of that memory and to somehow remain austere of those luxuries that we once considered appreciable, even fundamental.

Or tangentially giving rise to a concept such as Hyperrealism, where using, while pushing the boundaries, every available digitally technological means in creating images that are almost too sharp, with colour and contrast in their widest gamut ever seen in the history of photography. And to use photographs in their singular form or as multiples in stitching together, morphing, layering or making seamless digital collages that give one an illusion of a visual that could be real but isn’t really. Hyperrealism in its most experimental techniques challenges dimensions, the vertical and horizontal axes, space and in ways, time and fundamentally obliterates our secure bearings of visual comprehension. It is as much to be understood as accepted that photo editing and processing software from here on will be considered legitimately complimentary tools to photography and not as has been, an unholy convenience or an impurity in the process. This is especially where my views differ from those of Mireles’.
Lee Jeffries' Hyperrealistic Series on Homeless Children, Image courtesy Lee Jeffries _ Homeless Children _ in.pinterest.com
Lee Jeffries' Hyperrealistic Series on Homeless Children
The new wave of western painters seem to already have eagerly embraced these two styles of visual interpretation and will hopefully further the basic premise and idea with more freedom. Especially given that painting unlike photography doesn't have the constraints of working with subjects that are already existent.

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About the Author: Shibu Arakkal is a ‘Lorenzo il Magnifico’ Gold Prize winning photo artist, based in Bangalore, who has practised his art for over twenty years, and has shown his work extensively in India and abroad. One might bump into him riding his motorcycle, or cross paths with him while he is satiating his travel yearnings. He is a self-admitted dog-lover and philosopher inspired always by his daughter Zarah. You can connect with him on facebook.com/ShibuArakkalPhotoArt.com and www.instagram.com/ShibuArakkal

All images are for reference purposes and have been sourced by the author from the Internet, mainly from the artists' websites, Facebook and Pinterest pages. Please view image details for the source.

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