Prasanna Choudhary's Vizify Bio

Adani's tax haven ties to British Virgin Islands revealed

An investigation by the ABC's Four Corners program uncovers previously unknown tax haven ties for Adani Group's Australian operations.

An investigation by the ABC's Four Corners program uncovers previously unknown tax haven ties for Adani Group's Australian operations, with key assets ultimately owned in the British Virgin Islands.

Isis, the Mother of Apis

Associated with fertility, generation, and resurrection, the Apis bull was prominent throughout the long history of ancient Egyptian religion. Originally the bull, as all other animals, was revered as the manifestation of certain divine powers and was not itself a deity. Later, however, the Apis was in fact worshiped. Through its connotations of potency and renewal, it was associated with the gods Ptah and Osiris and with royal ritual. Isis, the wife of Osiris, is shown here in her role as mother of Apis. She is identified by her long cow’s horns, distinct from the Apis’s shorter set. This bronze item may have been a finial or fitting for the end of a carrying pole that bore a portable shrine of the Apis.

Medium: Bronze

Place Made: Egypt

Dates: ca. 670-332 B.C.E.

Dynasty: late XXV Dynasty to early XXVI Dynasty

Period: Third Intermediate Period to Late Period

Brooklyn Museum

Adolph Gottlieb, Equinox, 1963

From the Phillips Collection:

Once he felt he had exhausted the myriad possibilities of his pictographs, Gottlieb began to simplify his symbols and composition in order to enhance his theme of universality. By the 1960s, he was creating paintings like Equinox, in which the grid is reduced to an implied (although occasionally delineated) horizontal division that separates the image into two halves. Within each half, a few shapes—circles, squares, or calligraphic gestures—float against a field of color, vying for focal supremacy. Gottlieb creates a tension between the two forms struggling against each other, but in their balance and containment within a field of color, he also achieves a harmonious resolution.

Duncan Phillips acquired his two examples of Gottlieb’s work soon after each was painted, evidence of his appreciation of his art. Although no specific reference to Gottlieb appears in Phillips’s surviving writings, he could have had Gottlieb in mind when he declared in 1955, “I admire the aesthetic interpretations of the age we live in—even the symbols for the anarchy, the turmoil and the inner tensions.”

The Wayland Rudd Collection A project organized by Yevgeniy Fiks

The Wayland Rudd Collection focuses on the representation of Africans and African-Americans in Soviet visual culture. A point of departure for this project is Fiks’ collection of over 200 Soviet images (paintings, movie stills, posters, graphics, etc.) of Africans and African-Americans spanning from the 1920s to the 1980s. Fiks invited contemporary artists as well as activists, historians, sociologists, political theorists, and specialist in cultural studies to select one or more images from this collection and asked them to respond to it either via artwork, performance, lecture, or other forms.

Wayland Rudd was an American actor who began performing in the Hedgerow Theater in Rose Valley, Pennsylvania under the directorship of Jasper Deeter. Rudd first received critical acclaim for his performance in Eugene O’Neill’s “Emperor Jones.” Frustrated over racism in the entertainment industry, Rudd moved to the Soviet Union in 1932 where he began a successful career in Soviet Theater and Film including work with the famed Russian Director Vsevolod Meyerhold. He later received a degree from the Theatrical Art Institute in Moscow and worked at the Stanislavsky Opera and Drama Theater. Rudd died in Moscow in 1952.

During Wayland Rudd’s twenty year-long career in the Soviet Union, he appeared in numerous films, theatrical performances, and plays. He was also used as a model for paintings, drawings, and propaganda posters and, in many respects, defined the image of the “Negro” for generations of Soviet people. Although only a small section of the assembled images in The Wayland Rudd Collection are of Wayland Rudd, the project is given his name to commemorate this American-Soviet actor’s personal story as a case in point of the complex intersection of 20th century American-Soviet narrative.

The images in The Wayland Rudd Collection present a very complex and often contradictory mapping of the intersection of race and Communism in the Soviet context. The participatory aspect of this project adds the needed dimensions to show this complexity—giving the viewers the capacity to digest this history. This project investigates the promise and reality of Communism vis-à-vis the issue of race in the 20th century through the Soviet experiment. It presents this issue as unresolved, revealing the Soviet legacy on race as a mix bag of internationalism, solidarity, humanism, Communist ideals as well as exoticization, otherness, racist stereotyping, and hypocrisy.

Participants: Suzanne Broughel, Maria Buyondo, Dread Scott, Jenny Polak, Michael Paul Britto, Nikolay Oleynikov, Ivan Brazhkin, Haim Sokol, Kara Lynch, Dr. Allison Blakely, Dr. Romy Taylor, and others

REVISITING NATIONALISM - 2

REVISITING NATIONALISM – 2

REVISITING NATIONALISM  – 2       

Prasanna K Choudhary

EUROPE AND THE REST OF THE WORLD

The self-identity of European countries as ‘nations’ was invariably linked with the process of denying and destroying the identities of so many tribes, societies and…

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The Nightmare (alternate version) by Fussli, 1802.

“…people with mental illness are suffering.” – John Forbes Nash Jr., the mathematician who inspired “A Beautiful Mind” (rest in peace) [567x855] [OC] http://quotes-4u.tumblr.com/

Coronavirus Spells the End of the Neoliberal Era. What’s Next? — Patterns of Meaning Coronavirus is a political crucible, melting down and reshaping current norms. Will the new era be a “Fortress Earth” or a harbinger of a transformed society based on a new set of values?

फ़ासीवाद और हिन्दुत्व

फ़ासीवाद और हिन्दुत्व प्रसन्न कुमार चौधरी प्रस्तावना क. बीसवीं सदी का तीसरा और चौथा दशक ।महासमर (1914-1918) बीत चुका था । युरोप की धरती लहूलुहान थी और उसका मानस क्षत-विक्षत । युद्ध में करोड़ों लोग मारे गये थे । उत्पादक शक्तियों का ऐसा विनाश इतिहास ने शायद ही कभी देखा था । युद्ध भूमि से अपने-अपने देश लौटते सैनिकों के साथ फ्लू की वैश्विक महामारी (1918-1920) करोड़ों जानें ले चुकी थी । महाशक्तियों…

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