In 2006, MF Husain made UAE his home. The decision was a "game-changer," according to friends.
1981 saw seven Amitabh Bachchan releases, including his only Punjabi appearance in Walayati Babu.
"Tropical modernism' seems reductive as applied to South Asian architects" — artist Shezad Dawood.
NS Bendre is an early pioneer of the Indian modern art. Yet, the sublime beauty of his lines is coming into focus only now.
Just imagine the world of Bollywood playback singing if Geeta Dutt hadn’t died at a relatively young age of 41.
Relatives and fellow painters, the Europe-loving Sakti Burman and Paresh Maity remain Bengali at heart.
Circa 200 BC-1200 AD, India was home to a sophisticated culture full of creativity, argues William Dalrymple.
The gallery Pheroza J Godrej started fifty years ago made her an indispensable part of the city’s art scene.
Artists are using algorithms, sensors and augmented reality to speak of fragility and permanence.
Cautionary Tales: How artists are leading from the front in their cultural response to global warming.
The cross-cultural (Indo-French) world of the mother-daughter artist duo, Maïté Delteil and Maya Burman.
In Bollywood, biopics are in vogue. Are audiences in search of real-life heroes in these uncertain times?
Vadehra Art Gallery's Call Me By Your Name confronts that time-tested question — Can love complete us?
Museums and galleries across India are upending conventions and reimagining a new playbook for children.
Hansal Mehta, Nagesh Kukunoor and Onir on their love affairs with Mumbai, Hyderabad and Srinagar.
Mani Ratnam at 65: Even though ‘Made in Madras’ his youthful and spry songs speak to all of urban India.
Satyajit Ray changed cinema with poetic realism and humanist concerns, turning the medium into an art form.
A group exhibition in New Delhi engages with the challenges of habitation and questions of belonging.
New Delhi-based architect and artist Gautam Bhatia reflects on why 'beauty' has vanished from art.
Atul Dodiya wants to be remembered as Mohd Rafi of art. With his playful oeuvre and consistent output, he justifies it.
Kartick Chandra Pyne was best known as a 'surrealist' at a time when Indian modern art was following a more narrative tradition
Artist Jatin Das' lockdown works express the pain and anguish he felt during 2020's migrant crisis.
DD's multi-generational Buniyaad (1987) was about a family torn asunder in the aftermath of Partition.
As ‘Ashad Ka Ek Din’ turns 50, Kamal Swaroop revisits Mani Kaul’s literary aesthetic and painterly minimalism.
Vasan Bala who saw Nayakan before The Godfather writes about the sprawling Mani Ratnam classic.
Noir maven and Vijay Anand fanboy, Sriram Raghavan pays homage to Jewel Thief which released 50 years ago.
As 2020 ends, the story of OTT has only just begun. Here's how it's shaping the future of entertainment.
An Oscar-winning costume designer today, Bhanu Athaiya in the 1940-50s was busy pursuing art. Finally, she opted for films.
'Films That Take Us Home' is a Conde Nast Traveller mini-series where the Indian diaspora discusses films and nostalgia.
Neither fully Impressionist or Cubist, Jehangir Sabavala's serene landscapes have inspired a sense of wonder and awe.
Rekha Rodwittiya's art, where the mundane meets profound, is a celebration of “the everyday life of the woman."
Exploring Saadat Hasan Manto’s Bollywood years in the 1940s and his portraits (and friendships) of the matinee idols.
10 years of Ishqiya’s 'Dil toh baccha hai ji': The Naseer-Vidya Balan number plays out like a fantasy of an old man loopy in love.
The bashful actor never wanted to be a typical Bollywood hero, because a hero is a pro at self-love and vanity.
Haqeeqat’s Ho ke majboor' (written by Kaifi Azmi) finds the sweet spot between romance and pining in the time of war.
Many readers may not be familiar with Paris-based Rajendra Dhawan but he was held in high regard in art fraternity.
Artist Krishna Reddy on the lessons of Nandalal Bose, memories of Santiniketan and disappointment of not selling in India.
Some of AR Rahman's best works belong to Mani Ratnam's sensitive relationship-based films like Roja and Bombay.
Despite his good looks and the only voice that could match Bachchan’s, fame did not come instantly to Vinod Khanna.
'Papa kehte hain,' a breakout song with which Aamir Khan found his groove, underlines youthful anxiety.
The remarkable story of Fearless Nadia, one of Bollywood’s earliest female stunt stars, who has become a feminist icon.
"For any director, the pain of an unreleased film is similar to that of the mother of a stillborn baby,” says Shoojit Sircar.
Salim-Javed have given us Zanjeer, Sholay and Don among more. But critics call Deewaar their finest hour at the movies.
From mill workers to chawl dwellers, shantytown to towers, Sudhir Patwardhan’s art has kept up with the changing times.
"Creativity is an endless journey," believes Pankaj Kapur. "In Noh (Japanese dance-drama), they call it ‘flowering of an actor.’"
"A comedian can't be funny all the time. From Chaplin to Mehmood, they were all serious people," says Jaaved Jaaferi.
The actor (he died in 2020) discusses the effort behind his effortless performances and being an Asian hero in Hollywood.
Underrated most of his working life, Vijay Anand is being referenced by admirers like Sriram Raghavan and Anurag Kashyap.
After staying in France for nearly 60 years, Sayed Haider Raza has decided to “spend the rest of my days” in India.
Chandni (1989) came at a time when Yash Chopra was disenchanted with all the "violence" and action stuff.
Artist Jogen Chowdhury speaks about his friend MF Husain, his guru Tagore and the thrill of selling a painting for Rs 150.
Partners in Work and Life: A look at the complexities and comforts of Bollywood’s working couple equations.
Kiran Nagarkar praised Hazaaron Khwaishein Aisi as "one of the finest political films." It debunks the Leftist romanticism.
Mughal-E-Azam’s 'Teri mehfil mein' (so multilayered and interesting) holds clues to the film, predicting Anarkali’s doomed fate.
The Russian artist Zurab Tsereteli hobnobbed with Picasso and Chagall in '60s. He’s now painting flowers in Moscow.
Mira Nair on being a child of the street, her need for a talisman film when shooting, and of the perversity of item numbers.
According to lore, Amitabh Bachchan had made up his mind that if Zanjeer flunked he would bundle back to hometown Allahabad.
Gulzar-RD Burman's 'Tujhse naaraz nahin' (Masoom, 1983) suggests the helplessness of human relationships.
Manu Parekh's new paintings again pay tribute to a changing Kashi and its unchanging spirit.
A new book revisits the film Amar Akbar Anthony and shines light on director Manmohan Desai’s enduring masala legacy.