Unwrapping Ideas Author: Sabiha Mohammed Imani Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by Zubeida Agha, Karachi by Night, 1956 Has shopping at a supermarket ever left you confused? Have…
End of History - End of Art Criticism? On the transformations of the art-field in Eastern and Central Europe Author: Elona Lubyte Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by…
The Bangladesh Window Commemorating the Patriarch Author: Abul Mansur Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by Zubeida Agha, Karachi by Night, 1956 The 90th birth anniversary of Zainul Abedin,…
MERCOSUL BIENNIAL: Crossing Territories Author: Dr. Maria Amelia Bulhões Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by Zubeida Agha, Karachi by Night, 1956 Mega events are a phenomenon of modernity…
Creativity as the Immune System of the Mind and the Source of the Mythic Author: John Holt Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by Zubeida Agha, Karachi by Night,…
Chughtai - Revisited Author: Sangeeta Thapa Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by Zubeida Agha, Karachi by Night, 1956 M. A. Rahman Chughtai A month before I was preparing…
Sensibility, the DNA of Creativity Author: Niilofur Farrukh Originally published in NuktaArt, inaugural issue, May 2005 Cover Design: Sabiha Mohammad Imani Source of inspiration: Painting by Zubeida Agha, Karachi by Night, 1956 Dictionaries are unanimous in the definition of sensibility…
What is important here is not only art’s social conditions but also the relationship of artistic production to art history. However, national histories of art cannot be perceived, constructed and narrated independent of or separate from the mainstream modern art…
A city’s monuments, public structures, and ‘art’ in public spaces serve as institutionalized visual memories,