Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82HIGHLIGHT: KOMU RIYAS KOMU WAS BORN IN KERALA, INDIA, IN 1971. At the age of 21, he moved to Mumbai where he grad- uated from the Sir J. J. School of Art with a bachelor’s degree and a master’s degree in 1997 and 1999, respectively. He currently lives and works in Mumbai. Working in a variety of media, Komu has produced audacious and politically charged artworks whose social critiques target violence and authoritarianism as well as religious fundamentalism and expedient ideologies, both in and outside India. In Keep Cooking (Blood Red Series 6), a charred wooden pot is positioned in the cross-shaped niche of a red metal structure resembling a coffin or shield. Evoking private spirituality and consumerist uniformity at the same time, this sculptural work symbolizes the destruction of the youth who Komu believes are “cooked” by societal contrivances. Writer and curator Ranjit Hoskote, who has closely followed Komu’s career, comments: “Riyas has been able to knit his political concerns together with his formal explorations of sculpture, photography, painting and video in expanded and hybrid formats, so that his politics does not remain a generic abstraction but is bodied forth in sharply articulated and compelling works of art.” ABOVE: Riyas Komu. Indian, born 1971 Keep Cooking (Blood Red Series 6), 2005 Enameled metal and carved, burnt wood Gift of Mona Sinha, class of 1988, and Ravi Sinha 60 HIGHLIGHT: UNKNOWN THIS INCENSE TRAY IS RECTANGULAR WITH SLIGHTLY curved sides, turned-in corners and bracket feet. The wood base is decorated with gold, silver and slightly colored togidashi-e, hiramaki-e and takamaki-e on a polished black-lacquer ground. Bands of clouds are ar- ticulated in fine hirame, whereas mist appears in larger nashiji flakes. The design also includes three cranes fly- ing over sho ¯chikubai—the three friends of winter (pine, bamboo and plum)—by a rocky seashore. The rim is solid silver, and the underside is finished in medium-grade gold flakes. The shape of the central mountain, the combi- nation of pine, bamboo and plum and the descending cranes all allude to Mount Ho ¯rai, or Penglai in Chinese, the “Isles of the Blessed.” Traditionally featured in wed- ding ceremonies, the mountain pattern suggests this tray would have been part of a dowry. The tray comes with a fitted wood storage box, which was probably added after its separation from the rest of the marriage gift set. The inscription reads: “Hirame-ji [ashi-]tsuki ko ¯bon ichi (footed maki-e incense tray with hirame ground).”