In today’s age, BC could very well stand for Before Camera. The ubiquitous camera has gripped the mind’s gaze to such an extent that a lot of artistic “seeing” happens through the camera lens. It has certainly taken a toll on the expanse of ophthalmic experience and its subsequent expression.

Last week there was this rather interesting news that two of Nicolas Roerich’s paintings surfaced in London at an auction, and even got sold for a million pounds each until the buyers wanted to see the provenance of the works. Then

Travelling into the interiors of Madhya Pradesh once, I found myself in one of the most charming towns by the Narmada — Maheshwar.

After a long hiatus, the art season seems to have finally arrived — and how!

In the last month, I have traipsed across three cities (towns?) — Beng-aluru, Chennai and Gwalior — in India and come to a single conclusion: We as a people have no concern for public aesthetics.

As the dark clouds envelop the sky, their bosom heaving with luminous rain, the silver streaks of lightening flashing to illuminate, albeit for a fraction of a moment, the joyousness of a burgeoning earth. The optimism of the koels, who have been singing their plaintive yet seductive songs in an attempt to entice the clouds, has finally paid off. And the skies open in a veritable deluge of sparkling drops that touch the earth and the magic unfolds.

I am very confused.

Treating art as commodity is a debate that has no real answers one way or another.

Art auctions have often set the trend for an artist’s price the world over.

The first time I saw the Kohinoor at the Tower of London, there were tears of patriotic agony in my eyes.