DOCSLIB.ORG

1 Bibliographie Sélective Photographie & Culture Visuelle En

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Bibliographie Sélective Photographie & Culture Visuelle En Bibliographie Sélective Photographie & Culture Visuelle en Inde Zoe Headley Allana, R. 2010. The Artful Pose. Early Studio Photography in Mumbai, c. 1855-1940. Mumbai: Mapin Publishing. Alkazi, E., Allana, R., Kumar, P. Painted Photographs: Coloured Portraiture in India. Mumbai: Mapin Publishing. Babb, L. A. 1981. « Glancing: Visual Interaction in Hinduism ». Journal of Anthropological Research, 37(4): 387-401. Batti, S. et Pinney, C. « Optic-Clash: Modes of Visuality in India ». In Clark-Deces, I. (dir.), A Companion to the Anthropology of India. Malden: Blackwell Publishing, 225-240. Carotenuto, G. M. 2003. Power, Patronage and Portraiture: The Photographs of the Nizam of Hyderabad by Raja Lala Deen Dayal. Los Angeles: University of California Press. Chaudhary, Z.R. Afterimage of Empire: Photography in Nineteenth-Century India. University of Minnesota. Davis, R. H. 1997. Lives of Indian Images. Princeton: Princeton University Press. Dehejia, V. 2000. India Through the Lens: Photography 1840-1911. Mapin: Freer/Sackler. Desmond, Ray. 1982. Victorian India in Focus: A Selection of Early Photographs from the Collection inthe India Office Library and Records. London: H.M.S.O. Dewan, J. 1992. « Delineating Antiquities and Remarkable Tribes: Photography for the Bombay and Madras Governments, 1855-70 ». History of Photography, 16(4): 302-17. Dewan, J. 2003. The Photographs of Linnaeus Tripe: A Catalogue Raisonne. Toronto: Art Gallery of Ontario. Dewan, D. 2012. Embellished Reality: India Painted Photographs – Toward a Transcultural History of Photography. Toronto: Royal Ontario Museum. Eck, D. 1981. Darsan, Seeing the Divine Image in India. Chambersburg: Anima Press. Edwards, E. 2013(a). « Looking at Photographs: Between Contemplation, Curiosity and Gaze ». In: T. Garb (ed.) Distance and Desire: Encounters with the African Archive. New York: Steidl Edwards, E. et Mead, M. 2013(b). « Absent Histories and Absent Images: Photographs, Museums and the Colonial Past ». Museums and Society, 11 (1): 19-38. 1 Edwards, E. 2012. The camera as historian : amateur photographers and historical imagination, 1885-1918. Durham, North Carolina : Duke University Press. Falconer, J. 1995. A Shifting Focus: Photography in India 1850-1900. London: The British Council. Falconer, J. 2001. India: Pioneering Photographers 1850-1900. London: British Library. Freitag, S. B. 2014. « The Visual Turn: Approaching South Asia across the Disciplines ». South Asia: Journal of South Asian Studies, 37(3): 398–409. Furneaux, J. Glimpses of India: A Grand Photographic History of the Land of Antiquity. Philadelphia: Historical Publishing Company, [1895?]. Guha-Thakurta, T. 1995. « Visualizing the Nation: The Iconography of a ‘National Art’ in Modern India ». Journal of Arts and Ideas, 27–28: 7–40. Gupta N. 2000. Beato’s Delhi 1857-1997. New Delhi: Ravi Dayal Publisher. Gutman, J. M. 1982. Through Indian Eyes, 19th and 20th Century Photography from India. New York: Oxford University Press. Jain, K. 2007. Gods in the Bazaar: The Economies of Indian Calendar Art. Durham and London: Duke University Press. Johnson, R. F. 2003. Reverie and Reality: Nineteenth-Century Photographs of India from the Ehrenfeld Collection. San Francisco: Fine Art Museums of San Francisco. Karlekar, M. 2005. Revisioning the Past: Early Photography in Bengal 1875-1915. New Delhi: Oxford University Press. Karlekar, M. (dir.). 2006. Visualizing Indian Women 1875-1947. New Delhi: Oxford University Press. Malavika Karlekar, 2013 Visual Histories: Photography in the Popular Imagination. New Delhi: Oxford University Press. MacDougall, D. 1992. « Photo Wallahs’: An Encounter With Photography ». Visual Anthropology Review, 8(2): 96–98. MacDougall, D. 1992. « Photo Hierarchicus: Signs and Mirrors in Indian Photography ». Visual Anthropology, 5(2): 103–129. McHoul, A. & McNaughton, A. 2002. “Street and Studio: Popular Commercial Photography in India and Bangladesh”. In Intersections: Gender, History and Culture in the Asian Context. Issue 8, October. 2 Mahadevan, S. 2013. « Archives and Origins. The Material and Vernacular Cultures of Photography in India ». Archives, 4(1). (http://hdl.handle.net/2027/spo.7977573.0004.103) Mazzarella, W. 2003. Shoveling Smoke: Advertising and Globlization in Contemporary India. Durham and London: Duke University Press. Michell G. (dir.). 2008. Vijayanagara: Splendour in Ruins. New Delhi: Alkazi Collection of Photography; Ahmedabad: Mapin Publishing. Pelizzari, M. A. (dir.). 2003. Traces of India: Photography, Architecture, and the Politics of Representation, 1850–1900. Montréal: Canadian Centre for Architecture; New Haven: Yale University Press. Pinney, C. 1997. Camera Indica: The Social Life of Indian photographs London: Reaktion Books/Chicago: University of Chicago Press 1997. Pinney, C. 2008. The Coming of Photography in India. New Delhi: Oxford University Press. Pinney, Christopher. “To Know A Man From His Face: Photo Wallahs and the Uses of Visual Anthropology.” Visual Anthropology Review 9.2 (1993): 118–125. (SB) Pinney, C. "The Parallel Histories of Anthropology and Photography" pp.74-95 & "Underneath the Banyan Tree: William Crooke and photographic depictions of caste", pp.165-173, both in E.Edwards (ed.) Anthropology and Photography 1860-1920, Yale University Press, 1992. Pinney, C. "Some Indian 'Views of India': The Ethics of Representation" in Maria Antonella Pelizarri (ed.) Traces of India: Photography, Architecture, and the Politics of Representation, 1850-1900, Montreal: Canadian Centre for Photography/Yale: Paul Mellon Centre. pp. 262-275. Pinney, C. 2004.'Photos of the Gods': The Printed Image and Political Struggle in India. London: Reaktion/Delhi: Oxford University Press Pinney, Christopher. “The Indian Work of Art in the Age of Mechanical Reproduction: Or, What Happens when Peasants ‘Get Hold’ of Images,” In Media Worlds: Anthropology on New Terrain. Edited by Faye Ginsburg, Lila Abu-Lughod, and Brian Larkin. Berkeley: University of California Press, 2002355–369 (SB) Ramaswamy, S. (dir.). 2003. Beyond Appearances. Visual Practices and Ideologies in Modern India. New Delhi: Sage Publications. Ryan, J. 1997. Picturing Empire: Photography and Visualization of the British Empire. London: Reaktion Books. Sahai, Y. et Singh, R. 1996. Maharaja Sawai Ram Singh II of Jaipur: The Photographer Prince. Jaipur: Dr. Durga Sahai Foundation. 3 Sinha, A. J. 2007. « Visual Culture and the Politics of Locality in Modern India: A Review Essay ». Modern Asian Studies, 41(1): 187-220. Thomas, G. 1979. « The First Four Decades of Photography in India ». History of Photography 3(3): 215-226. Thomas, G. 1981. A History of Photography in India 1840-1980. Hyderabad: Andhra Pradesh State Akademi of Photography. Thomas, G. 1992. « The Madras Photographic Society 1854-61 ». History of Photography, 16(4): 299-301. Worswick, C. et Embree, A. 1976. The Last Empire: Photography in British India, 1855-1911. New York: Aperture. Worswick, C. (dir.). 1980. Princely India: Photographs by Raja Deen Dayal 1884-1910. New York: Penwick. 4 .
Load more

Recommended publications
  • In Black & White
    hoto feature p Clockwise from above: Rajabhai Clock Tower, Mumbai in the 19th century; Maharaja of Orcha-Sir Pratap Singh in 1890; and Raja Deen Dayal. process where the image made on a light-sensitive The wheedling of Sir Henry Daly, and silver-coated metallic plate) started flooding the European influence added to his motivation. European markets, and the influence set a pace On Sir Henry’s insistence, Deen Dayal in other colonial nations as well. India was not was given the golden opportunity to penurious of the changes, which was the result of photograph the Prince of Wales, and his rapid industrialisation in the west. The influence of entourage during his Royal Visit of India in photography was vivid, and brought about a radical 1875. change in the way events were recorded. Quickly acquiring acknowledgement, Born to this era in 1844, was an outré talented Dayal went on to tour Bundhelkhand during photographer, named Lala Deen Dayal. He spent his 1882-83, with the then Agent, Sir Lepel boyhood years in Sardhana, Meerut (now in Uttar Griffin. During this trip, he took rallying Pradesh). Brought up by a well to do family of Digamabar Jain images of many forts, palaces, temples (like the Dilwara Marwari jewellers, this academically inclined student topped temples of Mount Abu) is noteworthy. Eighty nine of these his form, earning a Diploma in Engineering, from Thomason images were reproduced and published in Sir Lepel’s, Famous College of Civil Engineering at Roorkee. Monuments of Central India, (London 1886), a book that The unflagging devotion to his métier won him the Royal reached the hands of Queen Victoria.
    [Show full text]
  • Sreekala Sivasankaran
    Contents Chief Editor: vè;{k dk lans'k & jkecgknqj jk; 02 Dr Sachchidanand Joshi lnL; lfpo dh dye ls 03 lkaLd``frd i=dkfjrk vkSj lkekftd mRFkku& Editor: &MkW- lfPpnkuan tks'kh Dr Mangalam Swaminathan Inspiration from the Past 06 Editorial Assistant: - Guest Article Kritika Mudgal Threads of Continuity- 10 Exhibition at IGNCA Photo Credit: All photographs are from the IGNCA Inauguration of Svasti Sankul 13 Archives/Photography Unit unless - New at IGNCA specified otherwise. The Year at IGNCA 14 - Events and Programmes Raja Deen Dayal Permanent 16 Exhibition Gallery-News In Conversation with Arun Prem 18 - Discovering Art India's Jewish Heritage: Landmarks 22 The opinions expressed in the magazine are those of the authors/interviewees and Living Tradition- Scholar at IGNCA and IGNCA does not necessarily subscribe to them. Clayanomaly- Discovering Art 26 IGNCA Publications 28 Printed at : Pohoja Print Solutions Pvt. Ltd., 420, Patpatganj Industrial Area, Delhi-110092 Ph. 9810056872 vè;{k dk lans'k iqu% fogaxe dh ;k=k &jkecgknqj jk; vè;{k fUnjk xka/kh jk"Vªh; dyk dsUnz dh }Sekfld if=dk ckSf)d uotkxj.k dh psruk dk foLrkj djsA bl n`f"V bfogaxe dk izdk'ku iqu% izkjaHk fd;k tk jgk gSA ls ^^laLd`fr laokn Ük``a[kyk** dk izkjaHk fd;k x;k gS] ftlesa Hkkjr dh lkaLd`frd /kjksgj dks latksdj j[kus vkSj geus vHkh rd MkW- ukeoj flag vkSj lar jkekuqtkpk;Z bls lewps fo'o ds le{k iwjh 'kkL=h;rk ds lkFk izLrqr ¼ftudk ;g lglzkfCn o"kZ gS½ ds vonku vkSj muds djus dk iz;kl ;g dsUnz foxr~~ iPphl o"kksZa ls dj jgk ek/;e ls lelkef;d jpuk lalkj ij ppkZ dhA blh gSA
    [Show full text]
  • China and India Timbuktu Books & Walkabout Books
    CHINA AND INDIA An e-list jointly issued by TIMBUKTU BOOKS & WALKABOUT BOOKS Seattle, WA Laguna Hills, CA JUNE 2019 Terms: All items are subject to prior sale and are returnable within two weeks of receipt for any reason as long as they are returned in the same condition as sent. Shipping will be charged at cost and sales tax will be added if applicable. Payment may be made by check, credit card, or paypal. Institutions will be billed according to their needs. Standard courtesies to the trade. Susan Eggleton Elizabeth Svendsen [email protected] [email protected] 206-257-8751 949-588-6055 www.timbuktubooks.net www.walkaboutbooks.net PART I: CHINA AND WESTERN PERCEPTIONS OF THE CHINESE An Early Chinese Effort to Develop Segregated Schools for Students with Special Needs 1. [BLIND SCHOOL] Niles, Mary; Durham, Lucy. Ming Sam School for the Blind, Canton, China, 1919. 12 pp, 5.5 x 8.5 inches, in original stapled wrappers. Light stain to upper left corner of cover and Chinese characters written on the front; very good. The first-known formal school for blind or deaf students in China was set up in 1887 in Shandong Province. The Ming Nam School followed just a few years later in 1891 in Canton. As recounted in this booklet, Dr. Mary Niles, who had come to China as the first woman missionary doctor at a Canton hospital, became aware of one of the city’s blind “singing girls." The girl, with others like her, had been sold by her parents and forced to sing on the streets at night.
    [Show full text]
  • So I Knew Their Place Before I Crashed Among Them, Knew When Alexander Had Traversed It in an Earlier Age for This Cause Or That Greed
    I am a man who can recognize an unnamed town by its skeletal shape on a map …. So I knew their place before I crashed among them, knew when Alexander had traversed it in an earlier age for this cause or that greed. I knew the customs of nomads besotted by silks or wells …. When I was lost among them, unsure of where I was, all I needed was the name of a small ridge, a local custom, a cell of this historical animal, and the map of the world would slide into place. – Michael Ondaatje, The English Patient (1992) 112 Marg Vol. 61 No. 1 112-120 Pramod final GJ.indd 112 18/09/09 11:32 AM Special Feature Pramod Kumar K.G. The Photography Archive at the City Palace Museum Udaipur A small slice of Udaipur’s history was uncovered in May 2008 when the City Palace Complex at Udaipur yielded several trunks packed with photographs. Safely maintained over the decades among the various storerooms and inner recesses of the vast City Palace Museum Udaipur (hereafter CPMU), the trunks hold several thousand loose photographs, folios, and framed images, which are currently being catalogued and archived. Numbering more than 15,000 images, these photographs are part of the Pictorial Archives of The Maharanas of Mewar, Udaipur, and are currently housed at the CPMU. A first exhibition of these photographs has already been mounted at the newly restored Bhagwat Prakash Gallery in the Zenana Mahal of the complex. Titled Long Exposure, 1857−1957: The Camera at Udaipur, the exhibition and the study of the collection is gradually revealing an unabashed “native” gaze and perception in what the camera’s lens set out to capture.
    [Show full text]
  • The Delhi Coronation Durbars Trust Based in New Delhi
    THE ALKAZI COLLECTION OF PhotographY The Alkazi Collection of Photography Codell POWER AND RESISTANCE The Alkazi Foundation for the Arts is a registered charitable The Delhi Coronation Durbars trust based in New Delhi. It is primarily dedicated to the power AND resistance exploration and study of the cultural history of India. Over the last 30 years, Ebrahim Alkazi, the Foundation’s The Delhi Coronation Durbars This volume explores how photography represented, Chairman, has amassed a private collection of photographs The Delhi Coronation Durbars Coronation The Delhi idealized and publicized the Delhi Coronation Durbars, known as The Alkazi Collection of Photography occasions marking the formal coronations of English (www.acparchives.com), an archive of nineteenth- and early- monarchs as empress and emperors of India: Victoria twentieth century photographic prints from South and power Edited by Julie F. Codell South-East Asia, amounting to over 90,000 images.The core in 1877, Edward VII in 1903 and George V in 1911. of the Collection comprises works in the form of photographic Formally schematized and instituted by the Viceroys albums, single prints, paper negatives and glass plate negatives of India—Lytton, Curzon and Hardinge—the durbars from India, Burma, Ceylon, Nepal, Afghanistan and Tibet. were the first examples of the aestheticisation of imperial Almost every region with a history touched by the British Raj politics and the inscription of the Raj in a celebratory is represented. These vintage prints document sociopolitical history that served to legitimate colonial presence. life in the subcontinent through the linked fields of history, AND architecture, anthropology, topography and archaeology, Lasting several weeks, each lavish occasion was imaged beginning from the 1840s and leading up to the rise of and described in photographs (cartes-de-visite as well as modern India and the Independence Movement of 1947.
    [Show full text]
  • The Delhi Coronation Durbars
    T HE AL K A Z I COLLECTION OF PHOTOGRAPHY Te Alkazi Collection of Photography Codell POWER AND RESISTANCE Te Alkazi Foundation for the Arts is a registered charitable Te Delhi Coronation Durbars trust based in New Delhi. It is primarily dedicated to the POWER AND RESISTANCE exploration and study of the cultural history of India. Over the last 30 years, Ebrahim Alkazi, the Foundation’s Te Delhi Coronation Durbars Tis volume explores how photography represented, Chairman, has amassed a private collection of photographs The Delhi Coronation Durbars Coronation The Delhi idealized and publicized the Delhi Coronation Durbars, known as Te Alkazi Collection of Photography occasions marking the formal coronations of English (www.acparchives.com), an archive of nineteenth- and early- monarchs as empress and emperors of India: Victoria twentieth century photographic prints from South and POWER Edited by Julie F. Codell South-East Asia, amounting to over 90,000 images.Te core in 1877, Edward VII in 1903 and George V in 1911. of the Collection comprises works in the form of photographic Formally schematized and instituted by the Viceroys albums, single prints, paper negatives and glass plate negatives of India—Lytton, Curzon and Hardinge—the durbars from India, Burma, Ceylon, Nepal, Afghanistan and Tibet. were the first examples of the aestheticisation of imperial Almost every region with a history touched by the British Raj politics and the inscription of the Raj in a celebratory is represented. Tese vintage prints document sociopolitical history that served to legitimate colonial presence. life in the subcontinent through the linked fields of history, AND architecture, anthropology, topography and archaeology, Lasting several weeks, each lavish occasion was imaged beginning from the 1840s and leading up to the rise of and described in photographs (cartes-de-visite as well as modern India and the Independence Movement of 1947.
    [Show full text]
  • Falaknuma Palace Dining Table
    Falaknuma Palace Dining Table Comradely Willy crenel that trammellers riffles nervelessly and decoke juvenilely. Struggling and polymerous andLeslie sylphid. perjures her electromotors ascends or vinegars inhumanely. Justis baptized her antechapels yon, Guinean If not been honored by any destination wedding india must present live a palace falaknuma palace Silicon Valley; all the big tech companies have offices there. Black Tomato experience in five days or less. SMT creator can turn, which results in nearly infinite customizability. India Abroad Publications, Inc. Chef Prabhitha was extremely friendly and breakfast served was at its best. For the height of luxury book yourself into the Royal Presidential Suite which features its own private swimming pool, a private Jacuzzi, ornate furnishings and soothing marble fountain. Sort of a month off, from blogging anyway. Standard cancellation rules apply. You can dress in royal way and they will take a picture of you! Your contribution should be yours. The Taj Falaknuma Palace is bringing together the best of wine and food in an exclusive weekend experience. The Main Lawns: a sprawling spread with an extraordinary backdrop In a city that speaks eloquently of its historical legacy stands a prestigious property that seamlessly draws from the days of yore, when royalty held sway. Located in Banjara Hills, Radisson Blu Plaza features a bar, spa, swimming pool and fitness centre. Silent in the lap of nature. Further, the Durbar hall of the Falaknuma Palace is also a beautiful location. The sixth Nizam of Hyderabad, Mir Mehboob Ali Khan appointed him State Photographer. Today, the Taj Falaknuma Palace is a luxury hotel, while the Chowmahalla is public museum.
    [Show full text]
  • Asian Art Newspaper, “Under Indian Skies” February 21, 2019 Administrator
    ASIAN ART NEWSPAPER, “UNDER INDIAN SKIES” FEBRUARY 21, 2019 ADMINISTRATOR Asian Art Newspaper explores the world of 19th-century Indian Photography on show at the David Collection, Copenhagen in Under Indian Skies. The invention of photography in 1840s revolutionised the way in which the world was documented and interpreted, not only in Europe, but also in Asia. As early as mid-19th century, the British authorities in India launched an impressive photographic survey of architecture. Enthusiastic amateur photographers soon followed suit with atmospheric images of life during the period, from high to low, from maharajas to snake charmers, and elephants and tigers to the beauty of the Taj Mahal. These photographs offered an eager and curious public in the West a glimpse of the exotic east, a way to experience the sites and cultures of a far-away land from the comfort of their home. This exhibition of 19th-century photographs offers a first-hand impression of Victorian India and the Raj, as seen through the eyes of primarily Western photographers. At the beginning of the 1850s, photography made its breakthrough in colonial India. With its impressive architecture, including Mughal palaces and mausolea, ruins, exotic landscapes, as well as the many different ethnic groups and cultures, the country offered fantastic opportunity for these early photographers to create striking images. Princes, maharajas, ministers and soldiers could all be recorded in detailed splendour. There was also a chance to document ordinary people and daily life: stone-cutters and woodcarvers, carpenters and dyers, mahouts with their elephants, cotton harvesters and gardeners, acrobats, snake charmers, dancers, musicians and religious processions.
    [Show full text]
  • RAJA DEEN DAYAL Artist-Photographer in 19Th-Century India
    RAJA DEEN DAYAL Artist-Photographer in 19th-Century India RAJA DEEN DAYAL Artist-Photographer in 19th-Century India Deepali Dewan and Deborah Hutton Te Alkazi Collection of Photography in association with Mapin Publishing First published in India in 2013 by Mapin Publishing Pvt. Ltd and CONTENTS Te Alkazi Collection of Photography Simultaneously published in the United States of America in 2013 by Grantha Corporation 13 ACKNOWLEDGEMENTS E: [email protected] Chapter 1 Distributed in North America by 16 INTRODUCTION Antique Collectors’ Club front cover Deborah Hutton and Deepali Dewan 5t' DEEN DAYAL &JOGP!BOUJRVFDDDPNtXXXBOUJRVFDPMMFDUPSTDMVCDPN 5PQ"TDFOUUP&OUSBODFPG(XBMJPS'PSU MBUF1DzDZDz 'SPNViews of Central Chapter 2 India, "MCVNFO1SJOU 1IPUPHSBQIFST3FGdz 131 x 1dzDzNN(fg. 29) Distributed in United Kingdom and Europe by 52 PUBLIC WORKS AND PRINCELY STATES front endpapers Gazelle Book Servies Ltd. Deepali Dewan 5t' DEEN DAYAL &TBMFT!HB[FMMFCPPLTDPVLtXXXHB[FMMFCPPLTFSWJDFTDPVL 5XPQBSU1BOPSBNB #JSETFZFWJFXPGi+FZFOES#IBXBO GPSNFSMZDBMMFE A1IPPM#BHIw +BJ7JMBT 1BMBDF(BSEFO (XBMJPS MBUF1DzDZDz 'SPNViews of Chapter 3 Central India "MCVNFO1SJOUT 1IPUPHSBQIFST3FG17 and 1ǯ 1dzǮYǬǭǯNN Distributed in Southeast Asia by 80 VIEWS OF THE NIZAM’S DOMINIONS Paragon Asia Co. Ltd 1dzǯYǬǯǮNN(fg. 28) Deborah Hutton 5t' page 1 E: [email protected] &$3"*( 45"''1)050(3"1)&3 3"+"%&&/%":"-40/4 #0.#": i3BKB#BIBEVS.VTBWWJS+VOHw BTQFS4UVEJP3FHJTUFS "QSJM1dzǪǮ 4JMWFS Chapter 4 Distributed in the Rest of the World by (FMBUJO1SJOU 1IPUPHSBQIFST3FGǬdzǰǮǭ 1ǭǭǭYdzǯǬǯNN(fg. 2) Mapin Publishing Pvt. Ltd 110 ROYAL AND VICEREGAL ENCOUNTERS ,BJWBOOB 1BODIWBUJ &MMJTCSJEHF "INFEBCBE*/%*" Āñ÷õăǬoǭ Deepali Dewan 5t' LALA DEEN DAYAL &NBQJO!NBQJOQVCDPNtXXXNBQJOQVCDPN 7JDFSFHBM1BSUZ4JNMB -PSE%VêFSJO GSPOUSPX DFOUSF NJE1DzDzǰ From Indian Photographs by Lala Deen Dayal of Indore, "MCVNFO1SJOU Chapter 5 Te Alkazi Collection of Photography 1IPUPHSBQIFST3FGǭǯǯǭ 1dzǪYǬǰDZNN (fg.
    [Show full text]
  • Colonial Lens Is on View from February 3 – September 4, 2011 and Is Generously Sponsored by the Los Angeles County Arts Commission
    Through the Colonial Lens is on view from February 3 – September 4, 2011 and is generously sponsored by the Los Angeles County Arts Commission. Pacific Asia Museum would like to thank the lenders to the exhibition, Catherine Glynn Benkaim and Barbara Timmer, the Pal Family, and Stephen White, for their willingness to share their collections with our visitors. We would like to recognize the staff at Pacific Asia Museum for their efforts on the exhibition, with special thanks to Yeonsoo Chee, Curatorial Assistant, John Cline, Exhibition Production Manager, and Annie Kuang, Assistant Registrar. We would also like to thank Jessica Farquhar, PhD student, Art History, UCLA, for her assistance. COVER IMAGE Samuel Bourne (British, 1834–1912), Kutub Minar with the Great Arch, THROUGH THE from the West, Delhi, 1866, Albumen print, Loaned by Catherine Glynn Benkaim and Barbara Timmer COLONIAL LENS Photographs of Nineteenth and Twentieth-Century India 46 North Los Robles Avenue Pasadena, CA 91101 626-449-2742 www.pacificasiamuseum.org CELEBRATING 40YEARS 3 SINCE THE ADVENT OF PHOTOGRAPHY IN THE NINETEENTH CENTURY, MILLIONS OF TRAVELERS THROUGHOUT INDIA HAVE TAKEN IMAGES TO MARK THEIR JOURNEY AND TO RELATE IT TO THOSE WHO AWAIT THEM AT HOME. THROUGH THE COLONIAL LENS LOOKS AT A SET OF PHOTOGRAPHS TAKEN IN INDIA BY A WIDER RANGE OF PHOTOGRAPHERS—AMATEURS, PROFESSIONALS, FOREIGNERS AND INDIANS ALIKE—WHICH WERE SERVING PURPOSES SUCH AS GOVERNMENTAL DIRECTIVES, ARCHAEOLOGICAL AND ARCHITECTURAL STUDIES, ETHNOGRAPHICAL SURVEYS, LANDSCAPES AND PORTRAITURE BOTH FOR COMMERCIAL AND PRIVATE PRESENTATION. VIEWING THESE IMAGES AS PRODUCTS OF THE COLONIAL STRUCTURE IN WHICH THEY WERE CREATED CAN ENHANCE OUR UNDERSTANDING OF THEIR IMPACT WHILE SITUATING THEM IN A HISTORICAL FRAMEWORK.
    [Show full text]
  • Portrait of Raja Deen Dayal, Undated
    Portrait of Raja Deen Dayal, undated Sarah Ganderup 2012 October 01 National Anthropological Archives Museum Support Center 4210 Silver Hill Road Suitland 20746 [email protected] http://www.anthropology.si.edu/naa/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Local Call Number(s)....................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 2 Portrait of Raja Deen Dayal NAA.PhotoLot.86-19 Collection Overview Repository: National Anthropological Archives Title: Portrait of Raja Deen Dayal Identifier: NAA.PhotoLot.86-19 Date: undated Extent: 1 Copy print Language: Undetermined . Administrative Information Provenance Donated by Mrs. Hemlata Jain, Dayal's granddaughter or great granddaughter and owner of the Dayal studio, through Suddha Gallagher, 1984. Location of Originals Original retained by Mrs. Hemlata Jain. Location of Other Archival Materials Deen Dayal exhibit brochures were also donated with this collection and
    [Show full text]
  • IIT ROORKEE ALUMNI ASSOCIATION, AHMEDABAD, GUJARAT, INDIA (IITRAAA) VAANI, the Voice of IITRAAA, APRIL’ 2016 2 GLANCE INSIDE
    VAANI, The Voice Of IITRAAA, APRIL’ 2016 IIT ROORKEE ALUMNI ASSOCIATION, AHMEDABAD, GUJARAT, INDIA (IITRAAA) VAANI, The Voice Of IITRAAA, APRIL’ 2016 2 GLANCE INSIDE GLANCE INSIDE 2 PAN-IIT NEWS 11 EDITOR’S DESK 3 THE EVENTS THAT ECHOED 14 IITRAAA NEWS 4 FINANCE AND LAW 19 IITR AND IITRAA NEWS 8 I gained nothing In fact I lost anger, Depression, jealousy, Irritation and Insecurity This was the answer given by Swamy Vivekananda to a question “What do you gain by Prayers” ------------------------------------------------ Monsters are real, and ghosts are real too. They live inside us....and, sometimes, they win. Stephen king I’m convinced there are vast security ramifications of so many poor people. Poverty is a weapon of mass destruction- we need war on it Reverend Jesse Jackson, civil activist, USA, on India’s socioeconomic development Work is worship, worship is not work Kushwant Singh One person can make difference, and every one should try it John F Kannedy Your purpose in life is to find your purpose and give your whole heart and soul to it Gautam Budha I measure the progress of a community by the degree of progress which women have achieved B R Ambedkar No person was ever honoured for what he received. Honour has been the reward for what he gave Kelvin Coolidge Life becomes harder for us when we live for others, but it also becomes richer and happier Albert Schweitzer Great works are performed not by strength, but by perseverance Samuel Johnson VAANI, The Voice Of IITRAAA, APRIL’ 2016 3 EDITOR’S DESK Dear VAANI Readers, Greetings to all.
    [Show full text]