A master painter, a colourful persona, a filmmaker with a difference, a lover of the most expensive cars on earth, a painter who preferred to walk barefoot - Maqbool Fida Husain was an enigma even to those who knew him best. M F Husain's was an inspiring story of rags-to-riches. This book pays tribute to M F Husain the artist. A master painter, a colourful persona, a filmmaker with a difference, a lover of the most expensive cars on earth, a painter who preferred to walk barefoot - Maqbool Fida Husain was an enigma even to those who knew him best. M.F. Husain's was an inspiring

This book emphasizes the importance of art in education for our schools. It provides an outline of the artistic developmental stages of children ages two to twelve years, as well as an introduction to art therapy. Art not only enhances a child's creativity, but also provides an opportunity for children to express their individual experiences and ideas. These theories are brought to life through detailed lesson plans. A chapter on art appreciation demonstrates how to use art to teach art.

In A Fragile Inheritance Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram. Examining their written and visual works over the past fifty years, Mathur illuminates how her protagonists’ political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction. This book presents new understandings of the culture and politics of decolonization and the role of non-Western aesthetic avant-gardes within the discourses of contemporary art. Through skillful interpretation of Sundaram's and Kapur’s practices, Mathur demonstrates how received notions of mainstream art history may be investigated and subjected to creative redefinition. Her scholarly methodology offers an impassioned model of critical aesthetics and advances a radical understanding of art and politics in our time.

The State of the World's Biodiversity for Food and Agriculture presents the first global assessment of biodiversity for food and agriculture worldwide. Biodiversity for food and agriculture is the diversity of plants, animals and micro-organisms at genetic, species and ecosystem levels, present in and around crop, livestock, forest and aquatic production systems. It is essential to the structure, functions and processes of these systems, to livelihoods and food security, and to the supply of a wide range of ecosystem services. It has been managed or influenced by farmers, livestock keepers, forest dwellers, fish farmers and fisherfolk for hundreds of generations. Prepared through a participatory, country-driven process, the report draws on information from 91 country reports to provide a description of the roles and importance of biodiversity for food and agriculture, the drivers of change affecting it and its current status and trends. It describes the state of efforts to promote the sustainable use and conservation of biodiversity for food and agriculture, including through the development of supporting policies, legal frameworks, institutions and capacities. It concludes with a discussion of needs and challenges in the future management of biodiversity for food and agriculture. The report complements other global assessments prepared under the auspices of the Commission on Genetic Resources for Food and Agriculture, which have focused on the state of genetic resources within particular sectors of food and agriculture.

A commitment to modernity is the underlying theme of this volume. Through essays that are interpretive and theoretical, the author seeks to situate the modern in contemporary cultural practice. She sets up an ideological vantage point to view modernism along its multiple tracks in India and the third world.The essays divide into three sections. The first two sections, Artists and ArtWork and Film/Narratives, raise questions of authorship, genre, and contemporary features of national culture that materialize into an aesthetic in the Indian context. The last section, Frames of Reference, formalizes the polemical options developed across the book. The essays here propose resistance to the depoliticization of narratives, and affirm an open-ended engagement with the avant-garde. They explore the possibility of art practice finding its own signifying space that is still a space for radical transformation.Geeta Kapur is an independent art critic and curator living in New Delhi. Her extensive publications on modern Indian art include the book Contemporary Indian Artists (Delhi, 1978), exhibition catalogues and monographs on artists. She is currently writing a monograph on Tyeb Mehta. Her essays on cultural criticism have been widely presented in forums of art history and cultural studies. Her curatorial work includes the show Bombay/Mumbai 1992 2001 in the multi-part exhibition titled Century City: Art and Culture in the Modern Metropolis , at Tate Modern, London, in 2001. Geeta Kapur is a founder-editor of the Journal of Arts & Ideas and advisory editor to Third Text. She has held research fellowships at Indian Institute of Advanced Study, Shimla, Nehru Memorial Museum and Library, New Delhi, and Clare Hall, Cambridge University. For the past three decades, [Geeta Kapur s] has been the singular dominant presence in the field to a point that her writings alone seem to have constituted the whole field of modern Indian art theory and criticism. Tapati Guha-Thakurta, Biblio (Delhi), May June 2001. Geeta Kapur is a magisterial presence in the sphere of modern Indian art. [The] insistence on the primacy of bearing witness to creative practice has been the leitmotif of Kapur s work. . . . Kapur s contribution . . . is best understood by reflection on the radical change that her activity has brought about in Indian art criticism. Ranjit Hoskote, Art India (Mumbai), Vol. VI, 1, 2001. When Was Modernism is a book of essays: imaginative, interpretive, argumentative, polemical, political and, in the combined sense of all these, historical. . . . [It] provides an instance of passionate engagement that, at its best moments, verges on the poetic. Chaitanya Sambrani, ART AsiaPacific (Australia), Issue 30, 2001.

Journalists face constant intimidation. Whether it takes the extreme form of beheadings, death threats, government censorship or simply political correctness—it casts a shadow over their ability to tell a story. When the Danish newspaper Jyllands-Posten published the cartoons of the prophet Muhammad nine years ago, Denmark found itself at the center of a global battle about the freedom of speech. The paper's culture editor, Flemming Rose, defended the decision to print the 12 drawings, and he quickly came to play a central part in the debate about the limitations to freedom of speech in the 21st century. In The Tyranny of Silence, Flemming Rose writes about the people and experiences that have influenced his understanding of the crisis, including meetings with dissidents from the former Soviet Union and ex-Muslims living in Europe. He provides a personal account of an event that has shaped the debate about what it means to be a citizen in a democracy and how to coexist in a world that is increasingly multicultural, multireligious, and multiethnic.