KAREN KNORR - University for the Creative Arts

Karen Knorr India SongIndia SongKAREN KNORRTASVEERTASVEERTASVEER

India SongKAREN KNORRTASVEER

Vacheron Constantin captures movement and thechoreography of time with Tasveer.In the world of time and precision, the craftsman’shand plays an essential role. Through gesturesinherited from past centuries, it sets out to conquermatter, lingering over the smallest details, whilefinding the path to perfection armed with patienceand concentration. Saluting this unwavering passionand skill of artists, Vacheron Constantin extends itsongoing support to the art of photography in India bypartnering with Tasveer’s eighth season of exhibitionsacross the country.Vacheron Constantin celebrates uniting time, art andculture alongwith the values on which the companyhas been built since its founding in 1755: supportingcreativity, openness to the world, sharing a passion,passing on knowledge and the search for excellence.Each Vacheron Constantin timepiece houses afragment of history – that of horology in particular, aswell as more broadly that of art, culture and society.Photography and horology share a common groundthrough their relationship with time. The advancedtechnical precision of both the camera and the watchare the result of techniques and procedures thathave been passed down from generations and honedand adapted along the way. The levels of perfectionnow achieved in both these art forms are symbolsof human ingenuity, achievement and refinement.It is, however, only when placed in the hands ofthose whose vision transcends their craft, that themost remarkable art works are produced, be thesephotographs or timepieces.Photography arrived in India via the East IndiaTrading Company in the late 1840s, which is the sametime that Vacheron Constantin can trace its ties to theIndian market – selling its first watch in the countryin 1849. Twenty years later, Jacques-BathélémyVacheron’s grandson, John Roux, travelled to Mumbaifor prospection. He returned to Geneva in 1872 withseveral orders in his briefcase. In the following years,many more fine watches were ordered by Maharajasand ruling elite. This was the golden age of travel,technical ingenuity and trade and therefore a time ofgreat exchanges in the arts between Europe and theEast. Indian clients were inspired by the precisionand unmatched quality of Vacheron Constantintimepieces, and the enriched art and culture of Indiabecame an endless inspiration for the brand.

The Cultural DocumentorNirati AgarwalHaving studied Western fables as well as Hinduavatars, Karen Knorr is a purveyor of cultural history.India Song (begun 2008) is an ongoing body of workwhich reinterprets Rajasthan’s haveli and royal artin contemporary ways, asking evocative questionsabout identity and guardianship. Knorr’s encounterwith Abhishek Poddar, one of the founding partnersof Tasveer, further helped her in her research acrossRajasthan, culminating in a series that has captured theworld’s attention.When Poddar first heard about American photographerKaren Knorr from Anna Fox, a critically acclaimedBritish photographer and friend, he was bowled over.Appealing to his penchant for both traditional andcontemporary forms of art, Knorr was one of the fewphotographers who truly succeeded in juxtaposingthe past with the present, raising evocative questionsabout history, myth and power in the viewer’smind. Poddar found himself researching Knorr’sbackground and soon met her to discuss a showing ofher previous project, Fables (a series of photographstaken in European heritage sites, which referencesepic tales of Ovid and La Fontaine against lighter,contemporary stories of Disney, using animals asprincipal characters in the frame), in India at Tasveer.In the various discussions that followed, the idea ofanother significant work emerged, and thus, India Songwas born—a series that would prove groundbreakingfor Rajasthani architectural history, socio-politics andfeminine studies.In 2008, Knorr travelled to India, where she visiteda total of sixteen sites across Rajasthan, includingSamode, Ramgarh, Nawalgarh, Mandawa, Phalodi,Udaipur and Jodhpur. She was fascinated by theart and the architectural history of the desert stateand the change (in terms of women’s rights and thecultural modernity that led to the dilapidation ofancient structures) that globalisation brought withit. ‘I discovered a complex and syncretic culture’, shesays. ‘I saw that India was changing rapidly’. Apartfrom appreciating and learning about Rajasthan’s richculture, Knorr’s purpose was to find architectural sitesthat represented the inherent hybridity of India.Having read India’s foundation epics, the Ramayanaand the Mahabharata, as well as reading theexperiences of international authors including WilliamDalrymple in books such as ‘White Mughals’ and ‘NineLives: In Search of the Sacred in Modern India’, shewas also influenced by her early readings of SalmanRushdie’s ‘Midnight’s Children’ and Gabriel GarcíaMárquez’s ‘A Hundred Years of Solitude’.Knorr wanted to portray visually, what these authorsdid in text—a culture in transition. Knorr’s earlierworks had been staged in places that represent culturalpinnacles—museums, palaces and royal houses; andas she travelled, she found Rajasthan’s heritage sites—havelis, forts and palaces—similarly inspirational.With Poddar’s help, she was introduced to modern-daymaharajas and princes, and sought permission to shootat their ancestral houses, but that wasn’t all. As a studentof feminist studies and the politics of representation,she wanted to do more. By juxtaposing animals inthese royal sites of beauty, she aims to highlight adissonance, pitching the splendour of the past againstthe environmental and social decay of the present.An understanding of Knorr’s background and herprevious work puts her visual quest into greater context.Having worked with the camera since the early 1970s,Knorr is an American born in Germany, brought up inPuerto Rico and educated in Paris and London. Armed

with this multicultural background, she is currentlythe professor of Photography at the University for theCreative Arts at Farnham, Surrey, and has travelledto institutions including Harvard, The Art Institute ofChicago and Goldsmiths, lecturing on and sharing herpassion for photography. Heavily influenced by, andhaving participated in, the cultural movement thatexplored the politics of representation (how the onesin power define cultural representation, what theyportray and how they portray it) in the West during the1970s, she has found her calling in producing work inthe documentary style of photography, simultaneouslyexploring issues concerning family, feminism andsocial constructs.‘My educational background has made me considerphotography as a way of inquiry. Having studied thehistory of art in the West, I have an acute awarenessof the exclusions that distorted art culture to privilegeItalian and Greek canons, with Renaissance andHellenic eras as the high points’, she explains.These exclusions are primary to what Knorr aims torepresent. What is even more exciting is that for herphotography is a ‘visual methodology’ that she usesto personally understand the world around her. Thereis no one answer then that Knorr’s work aims to forceher audience to accept; and unlike other Westernerswho explore Eastern culture, Knorr avoids bothcondescension and obeisance.In the past, Knorr has worked with film, video,installations and both colour and black and whitephotography with text captions and even audio aidsthat have represented subjects such as British classismin the Thatcher era, men with patriarchal values inEnglish gentlemen’s clubs, the relationship betweenart and science, the epistemology of critical studies ofart and more. ‘All my work considers fine art cultureand its relationship to power. There are negative andpositive effects to the way power intertwines anduses art’, she says. In a similar context, using royalRajasthani spaces that celebrate architectural artisanry,Knorr’s India Song challenges authority by insertingmagnificent birds and mammals within these spaces.The viewer, however, can see Knorr’s spirit of reverencefor the exquisite designs of these royal rooms, and thisis part of the allure of her work. ‘Taking care of culturalhistory and its manifestations in poetry, music, artand architecture helps us define our identity as partof a community, which is increasingly important in amaterialistic and consumerist world’, she explains.Knorr’s previous work encouraged her to extend themethodology developed in her European work toIndia. India Song, then, is a series that tips its hat toRajasthani and Mughal art, while questioning femininesubjectivity and animality. ‘The birds and mammalsinserted in the photographs link the Ramayana cultureof Northern India to allegorical representatives offemininity and masculinity, which aim to disturb thespectators’ expectations’, explains Knorr. Both womenand animals, she tells us, as seen in Christian heritage,have been considered subalterns, to be owned andabused by power. ‘This is not so different from the wayHindu and Muslim castes in India treat women andtribals’, she adds. A political commentary as well as acontemporary documentary, the series also presents thefragility of these architectural sites, linking them to thefragility of animal life.While there are similarities, there are also contradictionsthat Knorr’s work captures. The presence of bothBollywood and the Vedas in contemporary India andthe fluidity of past and present fascinate her. Anotherexample of this interweaving is women’s roles: ‘Morewomen are being educated and even forming theirown businesses; yet, the pull of traditional valuesmay be difficult to negotiate’, says Knorr. The nameof her photographic series is taken from MargueriteDuras’ identically titled movie, which released in 1975.‘Her film highlighted a subjective, feminine voiceconsidering the end of British colonial presence inKolkata, just as I am attempting to develop a new poeticsconsidering the presence of the feminine and animallife in Indian heritage’, she says. Her photographs alsohighlight the bright colours of Rajasthani architecturaldesign, and this too, was a conscious decision by thephotographer, who had studied the intensity of colourin miniature painting produced during the Mughal andRajput era and saw them reflected in the bright sarisworn even today in Rajasthan.An artist’s work, according to theories of metafictionand representation, first reflects the artist and then thesubject. Both Knorr’s scientific, analytical bent of mindand her more romantic persuasions are apparent inher work. ‘I see my photographs as developing a newdocumentary poetics that can make an appeal aboutparticular social issues affecting India using aesthetics’,she says, on one hand. And on the other: ‘Whenthere are good rains, the Thar desert blooms!’ See theprecision of light and angle in her photographs, thefine lines of the tiger, for example, in ‘The Peacemaker,Chandra Mahal, Jaipur City Palace’ (p. 51), and theromanticism of the photograph on the whole, and thisalluring dichotomy is apparent.To make this body of work Knorr used a large formatSinar camera, choosing it for its high technicalresolution and detail, and then used separately takenphotographs of animals at high shutter speeds (to freezetheir movements), inserting them into the interiorsusing Photoshop, spending months at a time to get asingle image right.It often takes an outsider like Knorr, who, armedwith a different perspective, can reveal aspects of ourown culture, in this case Rajasthani havelis, in a newlight. Poddar concurs when he says, ‘Knorr makes usre-look at the splendours that are all around us, butreinvigorates these scenes with playful devices such asthe inclusion of animals within the human sphere—ajuxtaposition we ourselves would perhaps not havedreamt of, or dared to realise’. It is no surprise then, thatKnorr has been awarded the Pilar Citoler Prize, one ofthe most prestigious photography awards in the world,for India Song, and has also been longlisted for theDeutsche Börse Photography Prize. ‘She continues tobe eagerly collected by museums, royals and privateindividuals, but I think her latest work holds an evenmore special place in the hearts of people like me—those from Rajasthan’, says Poddar. Knorr’s interest inthe guardianship of North Indian sites of architecture ispraiseworthy indeed, providing exciting new avenues ofstudy, bringing culture into perspective alongside art.

2008 - 2013India Song

karen KnorrThe Queen’s Room, Zanana, Udaipur City Palace, Udaipur03

karen KnorrThe Lifting of Purdah, Moti Mahal, Mehrangarh Fort, Jodhpur05

karen KnorrThe Exodus, Paradesi Synagogue, Kochi07

karen KnorrThe Arrow of Kama, Nahargarh Fort, Jaipur 09

karen KnorrThe Survivors, Sheesh Mahal, Deogarh Palace, Deogarh11

karen KnorrThe Private Audience, Aam Khas, Junha Mahal, Dungarpur Palace, Dungarpur13

karen KnorrThe Lovesick Prince, Aam Khas, Junha Mahal, Dungarpur Palace, Dungarpur15

karen KnorrFlight to Freedom, Durbar Hall, Junha Mahal, Dungarpur Palace, Dungarpur17

karen KnorrA Place Like Amravati, Udaipur City Palace (Nilgai), UdaipurA Place Like Amravati, Udaipur City Palace (Sarus Crane), Udaipur19

karen KnorrThe Last Lion, Diwan-i-Khas, Jaipur City Palace, Jaipur21

karen KnorrWaiting for Atman, Junagarh Fort, Bikaner23

karen KnorrThe Sound of Rain, The Cloud Room, Junagarh Fort, Bikaner25

karen KnorrThe Joy of Ahimsa, Takhat Vilas, Mehrangarh Fort Palace, Jodhpur27

karen KnorrThe Rout of the Rathore, Moti Mahal, Jaisalmer Fort29

karen KnorrDiscussions Concerning Rasa, The Phool Mahal, Mehrangarh Fort, Jodhpur31

karen KnorrThe Inheritor, Moti Mahal, Mehrangarh Fort, Jodhpur33

karen KnorrSolitude of the Soul, Udaipur City Palace, Udaipur35

karen KnorrThe End of the Hunt, Bara Mahal, Udaipur37

karen KnorrDurga’s Mount, Zanana, Junha Mahal, Dungarpur39

karen KnorrMaharani’s Attendant, Queens Palace, Thanjavur Palace, Tanjore41

karen KnorrAmrita’s Message, Nagaur Fort, Nagaur43

karen KnorrSita’s Wish, Zanana, Junha Mahal, Dungarpur45

karen KnorrThe Return of the Hunter, Sheesh Mahal, Jaipur City Palace, Jaipur47

karen KnorrSikanders Entrance, Chandra Mahal, Jaipur City Palace, Jaipur49

karen KnorrThe Peacemaker, Chandra Mahal, Jaipur City Palace, Jaipur51

karen KnorrThe Witness, Humayun’s Tomb, New Delhi53

karen KnorrAttaining Moksha, Ajanta Caves, Ajanta55

karen KnorrPalaiyakkaras, Hazararama Temple, Hampi57

karen KnorrThe Reception of Darshan, Ajanta Caves, Ajanta59

karen KnorrShelter of the World, Jama Masjid Mosque, Fatehpur Sikri61

karen KnorrBhakti, Path of Sants, Shiva Temple, Hampi63

K AREN KNORRKaren Knorr was born in Frankfurt am Main, Germany in 1954. Shewas raised in San Juan, Puerto Rico in the 1960s and then studiedphotography and film at the University of Westminster in the mid1970s. In addition to her photographic practice, Knorr has lecturedinternationally at institutions including The University of Westminster,Goldsmiths College, Harvard University and The Art Institute ofChicago. She is currently Professor of Photography at the University forthe Creative Arts in Farnham, Surrey.Knorr has lived in England since the 1970s and her early career was spentlooking at the British class system and other cultural traditions in Europe.Her exploration of political, economic, and gendered representationdeveloped through a number of major series including Belgravia,Connoisseurs, Academies and Fables. Her most recent work, India Song,is a further investigation into these ideas, albeit in a new cultural context.In 2012, India Song was nominated for the Deutsche Börse PhotographyPrize, Europe’s most prestigious award ‘for a living photographer who hasmade the most significant contribution to the medium of photographyover the past year’. In 2011, Knorr won the Pilar Citoler InternationalPhotography Prize for her work ‘Flight to Freedom’, also from the IndiaSong series.SOLO EXHIBITIONS (SELECTED)2013India Song, Tasveer Arts, Art Dubai, DubaiA Contemporary Bestiary, Musee d’Oise, Beauvais, France2012Sala Puerta Nueva, University of Cordoba, Cordoba, SpainAdamson Gallery, Washington DC, USA2011Transmigrations, Tasveer, NID, AhmedabadTransmigrations, Tasveer, Art Motif, DelhiTransmigrations, Tasveer, Seagull Foundation for the Arts, KolkataTransmigrations, Tasveer, Hermes, MumbaiTransmigrations, Filles du Calvaire, ParisIndia Song, James Danziger, New York2010Musée Carnavalet, Paris, FranceMaison de la Photographie de Toulon2009Musee Municipale d’Art Roche sur Yon2008Fables, Musée de la Chasse et de la Nature, ParisFables, Centrale Electrique, BrusselsFables, Chateau D’Eau, Toulouse, France2007Les Peintres de la vie moderne, Donation - Collection photographiquede la Caisse des Dépôts, Centre Pompidou, Paris, France2006Castello Migli Photobiennale, Brescia, Italy2005Fables, Photo & Co, Turin2004Menagerie, Centre d’Art Quevilly, FranceHistoires Naturelles, Musée de la Créche,Chaumont, FranceMenagerie, Galerie Blancpain Stepczynski, Geneva2003Genii Loci, Les Filles du Calvaire, BrusselsLes Filles du Calvaire, Paris2002Sanctuary, Miart, MilanoThe Venery, Cheverny Castle, Cheverny, France2001Spirits, Palazzo Tafini, Savigliano, ItalyArt Lovers, Geukens De Vil, Knokke Zoute, BelgiumSanctuary, The Wallace Collection, LondonInterim Art, LondonCOLLECTIVE EXHIBITIONS (SELECTED)2013Tasveer Gallery, India Art Fair, DelhiFilles du Calvaire Gallery, Art Geneve 2013Seduced by Art, National Gallery, LondonLadies at Focus Mumbai International Photography Festival, MumbaiJames Danziger Gallery, Aipad, New YorkA Contemporary Bestiary, Departmental Museum of the Oise, BeauvaisParis Photo LA, Danziger Gallery, Los Angeles

2012Tout s’ecoule, Rien ne Reste Tel. L’Espal, Le Mans, France Hors PistesUn Autre Mouvement des Images, Georges Pompidou Museum, ParisBetes Off, La Conciergerie, ParisJames Danziger Gallery, Aipad, March New York, USACapital, George and Jorgen, London, UKAnother London: 1930 - 1980, Tate Britain, LondonThe World in London portrait commission, Photographer’s Gallery37 Indian Still Lives, Tasveer Arts, Bangalore, India2011Pilar Citoler International Photography Prize Exhibition, Cordoba, SpainThe Birds and the Bees, Oakville Galleries, Gairloch Gardens, OntarioChobi Mela VI International Photography Festival, Dhaka BangladeshAIPAD New York, Eric Frank Gallery and James Hyman GalleryBrussels Art Fair, Filles Du Calvaire, Brussels, BelgiumParis Photo, Filles du Calvaire, James Danziger, Eric FranckBetes Off, La Conciergerie, Paris Miami Pulse James Danziger2010London Art Fair, James Hyman GalleryExhibitionism, Courtauld Institute, LondonPhotographs, Daniel Azoulay Gallery, MiamiElles, Centre Pompidou, Paris, FranceBrussels Art Fair, James Hyman Gallery and Photo And Co., Brussels70s Photography and the Everyday, CAAC, Seville, SpainLACDA Digital Print Award Exhibition, Los Angeles, CaliforniaMasterpiece, Eric Franck, Chelsea Barracks, London2009Opera, Art Projx at Loop Festival, Video Art, Barcelona, SpainFatal Attraction: Diana and Acteon, Forbidden Gaze, Compton VerneyElles, centrepompidou, Pompidou Centre, Paris1970s Photography and the Everyday, Photo Espana, Madrid SpainVisions in the Nunnery, Bow Arts Trust, LondonArtsep, Auction Christies, ParisParrworld, Jeu de Paume, Paris2008Filles du Calvaire, Art Brussels, BrusselsReal Photography Award Exhibit. LP2 Art Centre, RotterdamOpera, Artprojx, Tate Britain, Prince Charles Cinema, LondonFurstliches Halali, Burg, Forchtenstein, AustriaFables, Art Futures, Bloomberg Space, LondonParrworld, Haus der Kunst, MunichContinuum, Collection Frac Basse – Normande, Saint Lo, FranceArt Futures, LondonParcours Saint Germain, ParisDiana and Acteon, The Forbidden Glimpse of the Naked Body, KunstPalast, DusseldorfCenterfold, Zoo Art Fair, LondonParis Photo, Urbanites, Galerie Filles du Calvaire, ParisNature Fragile, Le Cabinet DeyrolleChristies at Musee de la Chasse et de la Nature, ParisThe Parking Lot, Eric Franck, London2007Eric Franck, London Photo, LondonGenerations, Filles du Calvaire, BrusselsPainters of Modern Life, Centre Pompidou, ParisKaren Knorr, Fables, Art Futures, The Bloomberg Space, LondonSotheby’s Contemporary Art Exhibit, Olympia, LondonGenerations, Filles du Calvaire, BrusselsPortraits-Souvenirs, Collection Neuflize Vie, Salon du Collectionneur,Grand Palais, ParisBloody Beautiful, Romandos Gallery, Rotterdam NetherlandsFilles du Calvaire, Eric Franck and Photo &Co, FranceBrussels Artfair, Brussels2006Tiefenschärfe (Depth of Field), Kunsthalle Baden Baden, GermanyIf it didn’t exist you would have to invent it… a partial history of theShowroom, The Showroom, LondonZoo, Centrale Electrique, Brussels, BelgiumBrescia International Photobiennale, Brescia, ItalyThe Painters of Modern Life, Centre Pompidou, ParisPlug, White Space, County Hall, LondonFilles du Calvaire and Photo & Co, Paris Photo, ParisPainters of Modern Life, Centre Georges Pompidou, FranceArtexis, Brussels Art Fair, Filles du Calvaire, BelgiumParis Photo, Filles du Calvaire, ParisOther Rooms, Other Voices, Art from the FRAC, Museum of IsraelCOLLECTIONSThe Arts Council of Great BritainThe Government Art Collection of EnglandBradford National Museum of Film and PhotographyBritish Council CollectionCentre Georges PompidouCabinet des Estampes, GenevaThe Chase Manhattan Bank, LondonThe Cartier Foundation, ParisFolkwang Museum, EssenFNAC, FranceFRAC Acquitaine, FranceFRAC Bretagne, FranceFRAC Lorraine, FranceFRAC Rhone et AlpesFRAC Haute NormandieFRAC Basse NormandieHeiting Collection, GermanyL’Hoiste Collection, BelgiumHokin Collection, ChicagoModerna Museet, StockholmMusee d’Art Moderne de la Ville de ParisMusee de la Chasse et de la Nature, ParisNational Museum of Modern Art, Kyoto, JapanNorton Collection, Los AngelesNSMD Bank Collection, ParisPalomon Collection, LondonThe State of Geneva Collection, SwitzerlandSan Francisco Museum of ArtThe Tate Collection, LondonTexaco Corporation, LondonTowner Art Gallery CollectionUppsala Museum of Modern ArtThe Victoria & Albert Museum, LondonVigo Council Art Collection, SpainWarburg Bank, LondonWinnepeg Art Gallery, CanadaMONOGR APHSEl Ojo Que Ves, La Fabrica, University of Cordoba, Spain 2012Transmigrations, Tasveer Gallery, Bangalore, India 2010Fables, Filigranes publishers, Paris 2008Genii Loci, Black Dog Publishing, London 2002Karen Knorr par Antonio Guzman Frac Basse Normandie, France 2001Signes de Distinction, Thames and Hudson, France, 1991Marks of Distinction, Thames and Hudson, England 1991

Acknowledgements & ThanksTo Geoff Blight and Roland Shaw for their help, support and for understanding my dedication to the Indian project and toAnna Fox for introducing me to India.Abhishek and Radhika Poddar for having received me into their family and for becoming very dear friends. Their generosityand kindness towards me in opening up their home has provided me with inspiration to continue developing my photographyin India. I am thankful for their initiative in introducing me to their friends and family and for helping me to stage new storiesabout India.Shivika Singh for having introduced me to various friends and members of her family, helping me access sites and palacesacross Rajasthan.Vivek and Shalini Gupta for their hospitality and support in Delhi.Nathaniel Gaskell for his patience and help with the development and dissemination of India Song.Arwind Mewar Singh, Siddi Kumari, Shatrunjai Singh Deogarh, Angad Singh Mandawa, Kalvendra Singh, MK HarshvardhanSingh and Narendra Singh for their kind support, hospitality and help in Rajasthan and for giving me permission to photographtheir palaces.Steve Vallis and the team at Michael Dyer Associates, London.Axel Antas, Daniel Bergo, Brian Voce, Berni Vent, Greg Jones and Matthew Brodie for postproduction retouching.Sabina Gill, Maria Kapajeva, Niccolo Fano, Arunima Singh, Mridul Batra, Suruchi Dumpawar for assistance and projectmanagement.I am grateful for the support of all the galleries who have represented my work especially Tasveer, India; Eric Franck Fine Art,London; James Danziger, New York; Filles du Calvaire Gallery, Paris and Photo & Contemporary, Turin.University of the Creative Arts in Farnham, my colleagues and students on the postgraduate and undergraduate photographycourse, for giving me time and research funding to support the continuation of India Song.Tasveer would like to thank Audi Delhi Central for supporting this publication and travelling exhibition.

TASVEERTasveer is an organisation committed to the art of photography and photography as art. Dedicated to promoting andshowcasing contemporary photography, Tasveer has created a network of galleries between Bangalore, Delhi, Kolkata,Mumbai and Ahmedabad.BANGALORE (head office)Sua House26/1 Kasturba Cross RoadBangalore 560 001DELHI46A Friends Colony EastNew Delhi 110 065KOLK ATASeagull Foundation for the Arts36C SP Mukherjee RoadKolkata 700 025MUMBAIInstitute of Contemporary Indian Art22/26 K. Dubhash MargKala Ghoda Next to MC Ghia HallMumbai 400 023AHMEDABADNational Institute of DesignPaldiAhmedabad 380 007ISBN: 978-1-62890-108-5Karen Knorr, India Song© 2013. Tasveer Arts Pvt. Ltd.www.tasveerarts.comArt direction: Nathaniel GaskellEssay: Nirati AgarwalTy pesetting: Reena ChandrasekarDesign: Girish TSAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic ormechanical, including photocopy, recording, or otherwise, without the prior written permission of the publisher.Vacheron Constantin works in partnership with Tasveer to promote the art of photography in India.