- The publication features works from 54 contributors including artists, curators, writers and historians from the Indian art scene.
- Each contributor made a selection of five significant works.
- The book depicts both well-known and lesser-known artists.
“Proximity is not alien to us in India,” Amartya Sen noted in The Argumentative Indian (2005), highlighting the rich tradition of disclosure in Indian culture. This trait is depicted in Moving Focus, India: New Perspectives on Modern and Contemporary Art, edited by Mortimer Chatterjee of Chatterjee & Lal in Mumbai. The two-volume book is a testament to tradition, emerging from an enthralling late-night discussions amongst friends about influential artworks.
The publication features works from 54 contributors including artists, curators, writers and historians from the Indian art scene. Each contributor made a selection of five significant works, which were accompanied by brief texts and the whole collection contextualized by eight essays and a roundtable discussion. This unique approach showcases a wide range of opinions and brings into attention various perspectives on Indian art.
The book depicts both well-known and lesser-known artists. For instance, Bhupen Khakhar’s work, famous for its detailed portrayals of daily life, appears multiple times, as do Anju Dodiya’s intriguing watercolors. However, the selection also extends to Amitesh Grover’s text projections and Nelly Sethna’s tapestry, “Untitled” (1980). Furthermore, Kushal Ray’s photobook Intimacies (2012), chosen by photographer Sohrab Hura, adds a personal touch to the collection.
Unlike Thames & Hudson’s 20th Century Indian Art, which lays more focus on a traditional overview, Chatterjee’s book spans artworks from 1900 onwards and includes both design and fine art by artists based in India or in its diaspora. The book is organized around visual affinities and key “memory sites,” a concept introduced by French historian Pierre Nora. These sites such as Ramkinkar Baij’s “Santhal Family” (1938), the Progressive Artists’ Group and the Gujarat city of Baroda’s art movement are pivotal in shaping the collective identity of the Indian art community.
Chatterjee’s work navigates through the complexity of these sites balancing theoretical discussions with accessible personal insights. Contributions from curators like Shanay Jhaveri and Madhuvanti Ghose along with Geeta Kapur’s critique of hegemonic modernism, who discuss various aspects of Indian art enrich the dialogue. The book is an extensive compilation that engages with broader debates within the field and provides an accessible exploration of modern and contemporary Indian art.
