Editorial
More Multiplication
I was completely delighted when I learned that, due to popular demand, the Publishers of artetc news & views had decided to add a Part III to Multiplying Importance: Indian Printmaking Then / Indian Printmaking Now. Of course this change has somewhat disrupted the nice little segregation I had hoped to make between "Indian Printmaking Then" and "Indian Printmaking Now". But on reflection this disruption seems really for the better. The past flows into our present and can never really be separated from it.
This current issue, Part II of the series, begins with Soumik Nandy Majumdar's interview with the venerable artist and printmaker Sanat Kar. Speaking about his history and methodology, the illustrious printmaker also touches upon the issues of art pedagogy. Ravikumar Kashi then offers his own sincere and questioning "Outsider's Perspective" on the state of the pedagogy of printmaking in India's schools today. This topic is further explored in Lina Vincent Sunish's intriguing essay on T. Sudharkar Reddy, a printmaking educator whose unusual manner of teaching has born incredible fruit.
It was my hope as Guest Editor to make this second part of artetc news & views' special trilogy on Indian Printmaking less about history and more about ideas. As such, the current issue continues with Anil Kumar's take on digitalization, coupled with a feature on the young artist Maripelly Praveen Goud, for whom technology and digitalization are a central concern. T. Venkanna speaks about his innovative "Gallery as Studio" that occurred recently in Mumbai, and Siddhartha Shah offers a look into the controversial career of Srilamantula Chandramohan. Nanak Ganguly analyses the woodcuts of Rajesh Deb, and Johny ML scrutinizes the still resonating history of the Indian Printmakers Guild. Finally, the exquisitely sensitive works of two printmaking educators, Pinaki Barua and Ajit Seal, are explored in depth by Sritama Halder.
Hoping that you will find these articles as enjoyable and stimulating as I have,
