Secular Artist, Citizen Artist
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Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Polemics of Performance Art Practices | Suruchi Khubchandani
POLEMICS OF PERFORMANCE ART PRACTICES | SURUCHI KHUBCHANDANI FICA RESEARCH FELLOWSHIP 2009 We abolish the stage and the auditorium and replace them by a single site, without partition or barrier of any kind, which we become the theatre of action. A direct communication will be re-established between the spectator, from the fact that the spectator, placed in middle of the action, is engulfed and physically affected by it. - Antonin Artaud, 1938 Artistic expressions in a postmodern world, as Michael Camille suggests, has seen a ubiquitous engagement, on the part of the artist, with the realm of ‘felt experience’ rather than with external means of representation, simulating not an illusion of the real but affirming the whole realm of ‘sensation’. We live in a world that Richard Schechner describes as one of ‘multiple literacies’, where people are overwhelmed by bodily, aural as well as visual data. All of these, in a sense, are performative- actions, spectacles- that are relentlessly brought to the fore in our everyday negotiations and interactions. It is for these reasons perhaps, that there has been a move away from painting, sculpture and the image, towards installation, environment and performance. Performance art is art in which the actions of an individual or a group at a particular place and in a particular time constitute the work. It can happen anywhere, at any time, or for any length of time. It is opposed to painting or sculpture, for example, where an object constitutes the work. Performance art reaches the frontier of a situation where the body of the artists with its various gesticulations becomes material as well as the work of art. -
Bibliography
Bibliography Author Citation Type of Document M S Randhawa Randhawa, M S. Roop‐Lekha, vol. L 1, nos 1 & 2, Dr W G Archer Memorial Number, All India Fine Arts and Crafts Society, New Delhi 1979‐80. Journal A Mookerjee Mookerjee, A. Modern Art in India. Calcutta: Oxford Book and Stationery Co., 1956. Book A Mukhopadhyay Mukhopadhyay, A. ' The Art Situation before 1940', Lalit Kala Contemporary , no. 31 (1985). Journal Article A K Coomaraswamy Coomaraswamy, A K. 'The Aim of Indian Art', Modern Review, 3 (1) (1908). Journal Article A K Coomaraswamy Coomaraswamy, A K. 'Art of the East and the West', Modern Review, 3 (5) (1908). Journal Article A K Coomaraswamy Coomaraswamy, A K. 'The Indian Craftsman', Modern Review, 3 (6) (1908). Journal Article A K Coomaraswamy Coomaraswamy, A K. 'The purposes of art', Modern Review, 13 (6) (1913). Journal Article Ajai Sinha Sinha, Ajai. 'Contemporary Indian Art: A Question of Method', Art Journal , Fall (1999). Journal Article Anita Dube Dube, Anita. Catalogue essay for Seven Young Sculptors, New Delhi: Kasauli Art Centre, 1985. Catalogue Essay Anita Dube Dube, Anita. Questions and Dialogue, Faculty of Fine Arts, M.S. University, Baroda, March 1987. Catalogue Essay Anita Dube Dube, Anita. Illegal, New York: Bose Pacia and New Delhi: Nature Morte, 2005. Catalogue Essay Annapurna Garimella ed. Garimella, Annpurna, ed. Mulk Raj Anand Shaping the Indian Modern, Mumbai: Marg Publications, 2005. Book Anshuman Das Gupta Das Gupta, Anshuman. 'Sculptural embodiments: the last two decades', in Contemporary Indian Sculpture: The Last Two Decades, edited by Shivaji Pannikar, Mumbai: Marg Article in a Book Publications, 2000. -
The Discourse and Practice of Radicalism in Contemporary Indian Art 1960-1990
THE DISCOURSE AND PRACTICE OF RADICALISM IN CONTEMPORARY INDIAN ART 1960-1990 by KATHLEEN LYNNE WYMA B.F.A., University of British Columbia, 1993 Diploma in Art History, University of British Columbia, 1997 M.A., University of British Columbia, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In The Faculty of Graduate Studies (Art History) THE UNIVERSITY OF BRITISH COLUMBIA June 2007 © Kathleen Lynne Wyma, 2007 ABSTRACT By the early 1980s the Department of Fine Arts and Aesthetics at the Maharaja Sayajirao University in Baroda stood as the key institution for contemporary art in India. Its reputation had been carefully cultivated over the last fifteen years by both K. G. Subramanyan and Geeta Kapur. Under their careful artistic and theoretical tutelage, the Facuhy of Fine Arts turned to narrative-figuration as a self-proclaimed polemical stance against the materialist/determinist thrust of history. The narrative turn moved beyond the regional locality of Baroda in 1981 with the exhibition Place for People. Held in the cosmopolitan art centres of Delhi and Bombay the show included the work of six artists variously affiliated with the school in Baroda: Bhupen Khakhar, Vivan Sundaram, Gulammohammed Sheikh, Nalini Malani, Jogen Chowdhury, and Sudhir Patwardhan. The arrival of Place for People in the 1980s must be situated within the larger frames of contemporary art in the post-colonial moment. In attending to the variegated terrain spanning both theory and practice, my project has as its underlying concern the interface between discursive formations, institutional structures, and sites of artistic intervention. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Intimate Durations: Reimagining Contemporary Indian Photography Permalink https://escholarship.org/uc/item/4161z2pg Author Powers, Alice Sophia Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Intimate Durations: Reimagining Contemporary Indian Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Alice Sophia Powers 2018 © Copyright by Alice Sophia Powers 2018 ABSTRACT OF THE DISSERTATION Intimate Durations: Reimagining Contemporary Indian Photography by Alice Sophia Powers Doctor of Philosophy in Art History University of California, Los Angeles, 2018 Professor Saloni Mathur, Chair This dissertation examines a mode of photographic practice in contemporary India marked by intimate, long-term engagement between artist and subject. I argue that the aesthetic of intersubjectivity embodied in this work lays claim to a sophisticated, progressive politics of gender and alterity through attention to complex negotiations of social hierarchy within contemporary India. In exploring the under-examined role of photography in the development of recent South Asian art, I further argue that this work anticipates the participatory paradigm that came to prominence in South Asia in the early 2000s, and that the unique history of photographic practice in the subcontinent opened significant possibilities for more substantially relational engagement between artist and subject. Building on this history allowed the three photographers at the heart of my ii project to develop a form of quiet activism, exemplary within the trajectory of contemporary art in South Asia. My analysis is grounded in the work of three Delhi-based photographers: Sheba Chhachhi (b. -
Mapping the Field of Indian Art Criticism 05 Progress Report 2
AAA Research Grant 2009-10 Vidya Shivadas Mapping the field of Indian art criticism: Post-independence Progress Report, September 2010 Making a Detour: Examining art criticism via journals and art magazines “….Learning on art should not be like this. It is wonderful to be lone, heroic and pioneering but it would be nice to have a systematic body of knowledge that all of us can access.” 1 I begin with this quote of Mumbai-based art critic and curator Nancy Adajania because it states the perceived dilemmas of an art writer (working specially in the context of the post-1990s art world where the critics are pushed into the role of professionals operating within the art market) performing in the face of the lack of systematized learning and access to historical and contemporary materials. The project brings together a range of textual materials as a way of redressing this problem for myself, a necessary exercise for someone who is involved in the field of art writing. Even as I work with five individual art writers I am not interested in only recuperating lone, heroic voices. I really think of this project as a way of constructing a field within which art writing takes place – a space constructed by historical time, institutional mandates, artistic practices and a community of art writers. Journals and art magazines become interesting spaces where all these positions are made somewhat visible. And even as an exhaustive study of the history of journals and art magazines in post- independence India is out of the purview of the present research, I have spent the last couple of months looking at Marg , Lalit Kala Contemporary, Contra ‘66, Art India, Vrishchik and Journal of Arts and Ideas as parallel published discourses that give a sense of the collective positions, projects and debates at different moments. -
Bhupen Khakhar Is Nothing If Not Tantalizing
The luminescent figure of Bhupen Khakhar is nothing if not tantalizing. Indeed, like Tantalus reaching for sustenance, Khakhar seems forever just out of reach, with any concrete sense of the man remaining evasive. Though much has been written, discussed and theorized about this adored artist from India, both during his BHUPEN lifetime and since he passed away in 2003 from a spate of cancerous episodes, the surfeit of separate accounts and contrary material leads to only one consensus: namely, that he was a man who could not be encapsulated—either in real life, or on the page. As an KHAKHAR artist and writer, Khakhar lived out a life that was both habitual and radical. His breakthrough work between the 1960s and 1990s spanned the modern and the postmodern. With his notions of the local and the light-hearted, combined with forays into the global and the critical, he was remarkable in his singularity. “Bhupen was unique in looking at the quasi-modern and urbanity on the margins,” said art-critic-turned-artist Anita Dube when we spoke in January. “He occupied this slippery space, like a fish . and he lived in those slippages.” It was here, in the most unlikely of interstices, positioned somewhere between the cosmopolitan and the vernacular, the community and the self, the (then very distinct) East and West, that he thrived. The core of Khakhar’s painting practice was located at a time when the elitist ideals of Indian modernism were starting to splinter and the space for immediate, homegrown and political impulses of art were beginning to open up.