Reliable Copy – Miss Read

Reliable Copy

Reliable Copy is a publishing house and curatorial practice for works, projects, and writing by artists. Reliable Copy publishes books and documents, curates exhibitions and screenings, undertakes research projects, and hosts a wide variety of public programming. Reliable Copy is based in Bangalore, India, and was founded in 2018. It is represented by the artists Nihaal Faizal and Sarasija Subramanian.
The 1Shanthiroad Cookbook
ed. Suresh Jayaram, The 1Shanthiroad Cookbook, Reliable Copy, 2022 © ed. Suresh Jayaram

Spreads from The 1Shanthiroad Cookbook, which brings together a collection of recipes from the community kitchen of 1Shanthiroad Studio/Gallery, compiled and edited by the space's founding director, Suresh Jayaram. Featuring recipes from over 70 contributors, including artists, curators, patrons, residents, and the extended family of friends of 1Shanthiroad, the cookbook serves as a portrait of an evolving cultural community. Emerging from and responding to the history and legacy of 1Shanthiroad - Bangalore's oldest-running non-profit residency and arts space - the cookbook frames the kitchen as integral to the site and function of the space, mapping recipes across generations, cultures, and timelines, while anchoring itself in the cultural history of the wider city.

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(Fine) Arts Dissertations Series
Various, (Fine) Arts Dissertations Series, Reliable Copy, 2022 © Various

Spreads from the '(Fine) Arts Dissertations Series' featuring dissertations by artists from their college years, sourced from the archive of MSU Baroda, an art college in Western India - the first one to be established in India post-Independence. So far, the series has four titles, by Pushpamala N, Praneet Soi, Kiran Subbaiah, and Nilima Sheikh.

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High Entertainment
David Robbins, High Entertainment, Reliable Copy, 2023 © David Robbins

Spreads from ‘High Entertainment’ by David Robbins, in which Robbins argues for a category of cultural production that combines the experimental ethos of art with the accessibility of entertainment. ‘High Entertainment’ eschews the specialised, exclusionary language on which art has increasingly come to depend, in favour of a communication model that extends and elevates the pop grammars to which we are exposed from our earliest years.



Bringing together a selection of essays, an interview, and an artwork that explore the development of this framework, this book touches upon four decades of Robbins’ engagement with the idea of High Entertainment—starting from the 1980s, through its moment of clearest resolution with the advent of digital technology, all the way to the present.

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