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Visual Culture in the Subcontinent
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Exhibition at Photoink Gallery | Kashmir by Amit Mehra

Exhibition at Photoink Gallery | Kashmir by Amit Mehra | Indian Photographies | Scoop.it

It’s a photograph of a hotel. Once a thriving, buzzing hotel in Gulmarg, now empty and silent. The picture is taken through a window. The next image is that of a boy with flutes in the foreground, also through a window. A tailor, also seen through a window, examines a needle and thread. Through a door, a window, or barbed wire—each picture has been captured from a distance; perhaps a distance as great as the Kashmiri reality is from the rest of the country.

 

Photograph by Amit Mehra

Article by Shreya Ray | LiveMint

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Candace Feit: Order in the Loud and Dirty

Candace Feit: Order in the Loud and Dirty | Indian Photographies | Scoop.it

"Through these photos I try to explore the idea that while things in these environments are loud and dirty, almost never tidy—that it is still possible to find moments of peace. And, as an extension, in these moments of peace there is often a sense separateness or solitude. Using the moments of stillness I find in each of these scenes, I try to bring order to the often overwhelming surroundings..."

 

In October of last year, Guernica featured photographs by Candace Feit of a fishing community in southern India. Below, Feit talks to Glenna Gordon about expanding the project, looking for peace in chaos, and the lives of artisanal fishermen.

 

Images by Candice Feit

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"Darkling I Listen" : Photography Freed from the Limitations of Sight

"Darkling I Listen" : Photography Freed from the Limitations of Sight | Indian Photographies | Scoop.it

"It struck me at once that this exhibition was almost free of visual clichés. None of the stock-in-trade of “Indian photography” — Cartier-Bresson’s decisive moments, Antoine D’Agata’s sexy shakes, Raghu Rai’s picturesque compositions — was to be seen in these photographs. We often respond to a photograph because it subliminally reminds us of another, more famous, photograph, painting or film-still. And, if we are not careful, this derivativeness, unthinking and automatic, determines the way we compose photographs, fantasies and memories. But the inner and outer lives of the blind are spared the inescapable clutter of readymade visual experience — or could it be that there are clichéd sounds, textures and smells that take their place? Somehow, it is difficult to think of clichés in spheres other than the verbal and the visual — which, in itself, is worth thinking about if we are worrying about the ubiquity of clichés.

 

The uncluttered quality of these photographs by the blind suggests a mode of vision that seems to have shed the burden of information and illustration. “This is my sight, detail-less,” says a wall-text by one of the partially sighted photographers in the show. So, as an experiment in a similar spirit, I decided to write this piece without providing any information about the gallery, photographers’ names, locations and even images from the show — not to mystify or tease by withholding facts, but to focus the reader’s attention on ideas and processes, instead of distracting him with names, places, dates and other specifications. I wondered, too, if ‘documentary’ photography could be freed, in certain cases, from the imperatives of context and information and taken towards a different order of vision, knowledge and value. And does this falling away of detail — not the details of texture or grain, but of information — make photography move closer to art?..."

 

Article by Aveek Sen | The Telegraph

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