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Published in The Hindu, 22 February 2009
‘The works have no information — like captions — precisely because I think the “where and when” of photography gets in the way of your experience of the image. And I was not making a documentation of Indian industry.’ - Dayanita Singh.
http://www.hindu.com/mag/2009/02/22/stories/2009022250030200.htm
Published in Business Standard, 14 February 2009
Blue Book, Dayanita Singh’s new body of work, is actually a double entendre. It’s both a series of photographs, hung on the walls of Nature Morte in India, and a slick book of postcards, produced by Steidl publishers in Germany. The thing is, Dayanita intended it to be that way. It is her intervention in the art market. The book ensures you can own the images, if not as the expensive prints, then as high quality postcards. Photography is a medium that allows for this latitude, and Dayanita stretches it out to the fullest.
http://www.business-standard.com/india/storypage.php?autono=348967
Published in Frieze, 8 December 2008
In ‘Dream Villa,’ the largest single body of her colour work shown to date, Singh explores the mysteriousness of ordinary spaces obscured in darkness. She exploits colour photography’s unique ability to reproduce gradations of colour and density in light, juxtaposing artificial lighting with moody night skies.
http://www.frieze.com/shows/review/dayanita_singh/
Related Exhibitions: Dayanita Singh: Dream Villa
Published in ShahidulNews, 6 December 2008
[Dayanita] had been questioning her own work for some time. Questioning her ’success’ at producing images that regurgitated the “India” the west already knew. She chose to become a mirror to herself, and in that process begin a journey that would create a window to an everyday world. An everydayness that other photographers had shunned.
http://shahidul.wordpress.com/2008/12/06/through-the-cracks-of-a-mirror/
Published in Financial Times, 22 November 2008
In her newest series, Dream Villa, [Singh] focuses once again on the empty places in this most populated of countries… and now, in a departure from her signature black and white, she is using colour - not to reflect the famously vivid Indian palette but, unexpectedly, to capture the shifting facets of the Indian night.
http://www.ft.com/cms/s/0/73e1657a-b838-11dd-ac6d-0000779fd18c.html?nclick_check=1
Related Exhibitions: Dayanita Singh: Dream Villa
Published in The Telegraph, Calcutta, India, 16 October 2008
Dayanita Singh’s Sent A Letter (Steidl, 2007) grew out of what she describes as a “diary-like way” of photographing that she started around the year 2000. She would take photographs while walking around a city or travelling together with, or simply thinking about, a friend…
http://www.telegraphindia.com/1081016/jsp/opinion/story_9971108.jsp
Published in Verve, March 2007 ( Volume 15, Issue 3 )
‘I wanted to be open to the surprises life has to offer, to be free to be as I am. For six winters, I travelled with Zakir and all the musicians he played with. Zakir became my mentor. I think my true learning comes from those travels, listening to the finest classical musicians night after night.’ – Dayanita Singh
Published in Tehelka, 14 January 2007
Published in The Telegraph Calcutta, 11 January 2007
(Dayanita Singh), with her Hasselblad, is a participant in the quietly noble defiance of loss and disappearance that human lives often are — without losing sight of, or sentimentalizing, the pathos, humor and fragility of that defiance.
http://www.telegraphindia.com/1070111/asp/opinion/story_7243529.asp
Published in India Today, 1 January 2007
‘From intensely human and personalised images, she shifts focus -without losing the slightest empathy-to inanimate objects like chairs, empty theatres and deserted landscapes to create intensely moving images. Here Man, like God in Faiz’s famous line: “hazir bhi hai, ghayab bhi”. That he is in attendance and absconding at the same time.’
http://archives.digitaltoday.in/indiatoday/20070101/week.html
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