Saam Lal’s Goats and the College of Art

On a burning-hot April afternoon (like today), sometime in 1994 or 95 Suneet Chopra entered the Ishtihaar office, his face red and profusely sweating. A safa, the kind worn by a peasant-mazdoor leader was dripping on his head. Without saying a word he pulled up a chair and sat down. Cleaning his glasses with the gamachha, he ran his fingers through his beard and drank two glasses of water. A cup of tea later he asked me to get up and come with him. “Where to?” I asked. At the Delhi College of Art, there is a show of final year students’ works on display and for sale.”  When Suneet spoke with that kind of authority you couldn’t say no. We drove to the college where the artworks of final-year BFA students were on display for assessment and for sale. Walking up and down the corridor and the hall, we looked at the artworks but weren’t ready to pay the prices students had labelled them for. We were about to leave when we met Saam Lal (that’s how he pronounced his name). Saam (Shyam), a peon-like assistant at the college, held a few rolled sheets in his hand. He had displayed two others on a cord along the outer wall. Those were HIS paintings. Shyam Lal, who had never attended school, learnt to draw and paint at DCA only. A few works that he managed to sell in a year supplemented his meagre salary. Looking at his works Suneet retraced his steps, and so did I. Suneet kept looking at the “Goats” – a gorgeous single one, and a clean-coated family of four. Suneet asked Shyam Lal to open the roll in his hand, which had two more artworks; Goats again. He looked at me and nodded, signaling that we should take these. Between the two of us we bought all four works. Shyam Lal asked for 2,500 each. Mind you, these are 3×2 feet fabulous works, watercolour on acid-free chart paper. The two in picture are with me, I wonder what Suneet did with his. Over thirty years now… every time I look at these works I remember both Suneet and Saam. Suneet is gone, I wonder what ever happened to tall, emaciated, smoker Saam who could hold both a brush and a bidi in his left hand while painting. Syam signed these works for us with a pencil tucked in his left ear. I cherish these.

For those who don’t know: late Suneet Chopra was an art critic, writer, and poet. He was a trade unionist; Secretary of the All India Agricultural Workers Union and a Central Committee member of CPI(M). Born in Lahore, Suneet was an alumnus of Modern School and St. Xavier’s College, Calcutta. He taught regional development at Jawaharlal Nehru University Delhi. More than everything else, the ever-smiling Suneet was a fine human being. 

Sunil Janah: Photographing Wretchedness and the People’s Manifest

Sunil Janah would have been 108 today (17 April). His powerful photographs documented India’s independence movement, its peasant and labour movements, famines and riots, rural and tribal life, as well as the years of rapid urbanization and industrialization. The pictures he took were “a powerful mobilising tool, bearing witness to a brutal famine that the British were actively trying to deny.” About this picture of two tribal women, he said, “I took a number of photographs unknown to them; they were watching Margaret Bourke-White at work. The young girl was particularly striking.” Janah is quoted about his picture in the book, ‘The Second Creature‘, published by Signet Press in 1943. In the next picture (from a show at Museuo Camera, Gurgaon) are Sunil Janah and Margaret Bourke-White, c.1946, who collaborated on many projects.  Sunil Janah was an Indian-American photojournalist and documentary photographer who worked in India in the 1940s.

Love is a Resistance

Love is Resistance sews together 77 posters for a free Palestine from creatives around the globe
To hang, to share or to tear out and take to protests, this living archive calls for solidarity in action.

Love is Resistance is a collection of 77 commissioned posters by artists, musicians, writers, designers, filmmakers, actors, digital creators and voices from across the world standing in solidarity with Palestine. Each poster tells its own story – recalling iconic figures, pivotal moments, poems and personal acts of remembrance – and bears witness to grief while insisting on life, justice and liberation.

Love is Resistance is a book “born from the ache of witnessing”, curator and editor Aya Mousawi shares with It’s Nice That: “To witness is to refuse disappearance: an attempt, in a small way, to archive this time and capture the spirit of our efforts to stand with Palestine. To honour their resistance and survival, and to trace the threads of solidarity that connect us across the world.”

A publication brought together in just six weeks, in the wake of the humanitarian crisis in Gaza, the artist book gathers a staggering number of visual poems, stories, memories and messages of resistance in the form of poster designs from the past two years of the genocide – marking “77 years of occupation and ethnic cleansing, and 77 years of resistance,” Aya adds.

Love is Resistance: Edited and curated by Aya Mousawi and published by Saqi Books, editorial design by Tawfiq Dawi/Hey Porter! Photo: Randa Dibaje (Copyright © Love is Resistance and courtesy Love is Resistance and Saqi Books, 2025) – Ellis Tree

Check out the Posters and text at

https://www.itsnicethat.com/articles/aya-mousawi-love-is-resistance-publication-project-121125?utm_source=dailyemail&utm_medium=email&utm_campaign=intemail

Palestine resistance poster

Blues. Paeans to an Art

In these difficult times of constant anxiety – stress & worry are deceitful mistresses. While our environment seeks to fill us with dread, the ‘Colour Blue’ serves to create a sense of calm, peace, tranquillity and has a soothing effect on our mind, body and ‘soul’. Blue is a ‘peacemaker’. Blue, as a hue, has no time for baseless fears. Blue inspires us to live in the present and bid farewell to our stress. By creating an air of serenity, the colour does just that. On a particularly challenging day, consider looking up at the sky and feel the stress melt away.

 Stretching across the wide spectrum of blue, Dr Kausik Ghosh’s photos drape us with tones that soak away the blues. Precisely, their blue tempts us, soothes us and balms our eyes with that such heavenly tints that dispel the distress. His pictures goad us not only to look up to the sky but also nudge us to pick finer details of blue in nature and objects all around us. The peace and stillness of the blue in his pictures brush aside the sadness and adds stability to our thoughts – precisely what music does. Indeed, there is music in each of his frames. The angelic note of a harp going there, a violin’s note ringing there and a flute blown so close to our earlobes that even the heart tingles. I could see the golden caterpillar ‘glide’ on the painted blue cable, the ice flakes rappelled down the branches of the tree set against the cerulean blue. Whether it was the colour blue in ceramic motifs outside a house or the unending blue tiles running from columns to the domes of Central Mosque in Bishkek, Kyrgyzstan. Each shade of blue brings us closer to the divine touch moving us towards serenity, as if holding our hands and offering the much-needed trust.  

In his pictures you’ll find an oasis of calm gazing up at the clouds. ​Known for its composed demeanour, blue has a tranquil presence. It doesn’t intrude or pester. Instead, it merely makes itself known. In terms of the psyche, the colour blue is known to impact the mind positively. Blue represents patience and understanding, which is why we feel so comfortable around it. When overwhelming emotions consume us, we’re encouraged to decompress with the colour blue. It’s also commonly associated with the ocean, which further highlights its soothing essence.

Creating pictures for larger comfort is a yearly ritual with him; this being Dr Ghosh’s 15th exhibition. He heals not just with his expertise in orthopaedics but also with his sensitive eye. Fifteen years of commitment to humanity with his blessed hands. The hands that for some set a bone and the same hands when holding a camera – for some set the mood.

 As a peacemaker, the colour blue doesn’t intend to stir the pot. In fact, it loathes the idea of creating conflict. Blue doesn’t like being in the spotlight, so it keeps to itself. Regarded as one of the more reserved hues, blue is tight-lipped. Though it doesn’t have a strong personality, blue does have a unique spirit.

 Cool, calm, and collected that’s how I have always found Dr Kausik Ghosh – and that’s what – his latest creation is – ‘Presence and Perception of Blues’. Now, the blues here are not the pangs of Heart but paeans to an Art. 

Rajinder Arora, 29 December 2025, Delhi

दुनिया परछाइयों की

THE WORLD OF HINDI CINEMA

और सब भूल गए हर्फ़-ए-सदाक़त लिखना
रह गया काम हमारा ही बग़ावत लिखना

  • हबीब जालिब

अगर आप शिराज़ हुसैन उस्मानी की कला, उनकी खताती (कैलिग्राफी), उनके स्टूडियो ‘ख्वाब तनहा’ और उनकी शख्सियत से वाकिफ नहीं हैं तो आप बहुत कुछ मिस कर रहे हैं। अपनी क्रीऐटिवटी और अपने हुनर से कल शाम शिराज़ साहब ने महफ़िल लूट ली। मौका और नुमाइश (‘दुनिया परछियों की’) तो हिन्दी सिनेमा के फिल्म पोस्टर, गीत पुस्तिकाएं, लॉबी कार्ड और बड़े छोटे परदे पर चलती तस्वीरों की थी पर शिराज़ हुसैन के बनाए परदों पे थिरकते हर्फों नें देखने वालों पर ना सिर्फ जादू कर दिया पर वो आज के माहौल पर एक तबसरा भी हैं ।

जाने माने फिल्म इतिहासकार और कला क्यूरेटर आशीष राजाध्यक्ष ने इस प्रदर्शनी को पुराने फिल्मी पोस्टरों, लॉबी कार्ड, थिएटर के अंदर का माहौल बना कर मल्टी-मीडिया के इस्तेमाल सिनेमा के प्रेमियों के लिए खास तरीके से पेश किया है। यह प्रदर्शनी रोजमर्रा की भारतीय जिंदगी में सिनेमा की अमूर्त उपस्थिति को उजागर करती है।

अर्थशिला दिल्ली में लगी “दुनिया परछाइयों की” प्रदर्शनी “भारतीय सिनेमा के सच्चे सिनेप्रेमियों के लिए है। हिन्दी सिनेमा 21वीं सदी के भारत में सबसे बड़े सांस्कृतिक प्रभावों में से एक रहा है। प्रदर्शित पोस्टर 70, 80 और 90 के दशक की सिनेमाई स्मृति को याद करते हैं।”

प्रदर्शनी 27 सितंबर 2025 से 4 जनवरी 2026 तक रहेगी। बेहतरीन, ज़रूर देखिए। बाकि जानकारी @arthshila_delhi