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outledge India Originals Making Ideas Travel Worldwide Modern Art in Pakistan History, Tradition, Place Simone Wille Series: Visual and Media Histories Series Editor: Monica Juneja Simone Wille's research has carefully traced a focused, influential trajectory of modern and contemporary artistic practice in Lahore . Revelatory and distinctive. — IFTIKHAR DADI, CORNELL UNIVERSITY [A]n innovative study which analyses the position of modern and contemporary art of Pakistan within the traditions of South Asia and modern globalisation. It is essential reading for experts in these fields but also . for those interested in the artistic developments of our times within the Islamic world and beyond its boundaries. — EBBA KOCH, UNIVERSITY OF VIENNA What many Pakistani artists have accomplished through art practice finally finds a parallel in art historiography . Wille compellingly places modern and contemporary Pakistani art within the space of global modernism and Contents art discourse without losing its specificity. Plates — PARUL DAVE MUKHERJI, JAWAHARLAL NEHRU UNIVERSITY Acknowledgements Modern Art in Pakistan examines interaction of space, tradition, and history to analyse Preface by Monica Juneja artistic production in Pakistan from the 1950s to recent times. It traces the evolution of modernism in Pakistan and frames it in a global context in the aftermath of Partition. Introduction: A New Sense of Place in Modern Pakistani Art A masterful insight into South Asian art, this book will interest researchers, scholars, and 1. Shakir Ali (1916–75) students of South Asian art and art history, and Pakistan in particular. Further, it will be 2. Zahoor ul Akhlaq (1941–99): The Idea useful to those engaged in the fields of Islamic studies, museum studies, and modern of Space as an Abstract System South Asian history. 3. The Legacy of Pakistan’s Modernism in Simone Wille is an independent art historian, researcher, and writer currently based in Contemporary Art Vienna, Austria. Conclusion Order Form Afterword by Iftikhar Dadi LAST NAME FIRST NAME Bibliography DEPARTMENT About the Author INSTITUTE About the Series Editor m r ADDRESSo Index F r TOWNe d r POSTO AL CODE COUNTRY ISBN: 978-1-13-882109-5 TELEPHONE FAX Hardback Pages: 148 EMAIL Price: `1495, $140, £85* SIGNATURE DATE: Taylor & Francis Books India Pvt Ltd Showroom *From India and South Asia, please e-mail: [email protected] 912 Tolstoy House, 15–17 Tolstoy Marg, 109 Basement, Prakash Mahal, Ansari Road From USA, please e-mail: [email protected] Connaught Place, New Delhi 110 001 Near Ansari Road Gurudwara From the UK/RoW, please e-mail: [email protected] Tel.: +91 (11) 4315 5100, Fax: +91 (11) 2371 2132 Daryaganj, Delhi 110 002 Enquiries: [email protected] Tel.: +91 (11) 4015 5100 [email protected].

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RASHID RANA SCATTER in TIME RASHID RANA SCATTER in TIME Scatter in Time I | 2016-17 | C Print + DIASEC | 350 X 280 Cm
RASHID RANA SCATTER IN TIME RASHID RANA SCATTER IN TIME Scatter in Time I | 2016-17 | C Print + DIASEC | 350 x 280 cm TRANSLITERATING THE INTOLERABLE IMAGE BY JUSTINE LUDWIG Oath of the Horatii (Jacques Louis David) War Within I | 2013 | C Print + DIASEC | 300 x 200 cm Bomb Blast in Quetta, 2010 RASHID RANA is interested in dualities—those of space, artistic practice—specifically how cultural history influences time, tradition, and culture. Throughout his career he contemporary art. The reductive binary of East and West is has tapped into the tensions existing in these dualities addressed by highlighting the sociopolitical reality of the East by employing the technique of pixilation. In Rana’s work, through altered images from the canon of Western art history. multiple images simultaneously occupy the same space as either larger pictures are comprised of smaller ones or source Throughout his career, Rana has been interested in what he images are broken up and rearranged to resemble different refers to as the relationship between actual and remote. Actual subjects. In his series Transliteration, begun in 2011, Rana is defined by the artist as that which is physically witnessed and takes loaded images including iconic paintings, chiefly from shared through proximity, while remote refers to information the European Neoclassical period, and reconfigures them to that is experienced and understood second-hand, usually via appear as different familiar subjects such as those pulled from media. It is the negotiation between the binaries of actual and contemporary media. Images are broken down into a grid and remote, two forms of familiarity and understanding, which then cut into smaller fragments and rearranged to evoke a informs Rana’s selection of subject matter.
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