DOCSLIB.ORG

Vivan Sundaram Share 1 2 3 4 5 6 7 8 9 10 by Natasha Ginwala

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vivan Sundaram Share 1 2 3 4 5 6 7 8 9 10 by Natasha Ginwala Mousse Magazine ( http://moussemagazine.it ) Search Follow Us ESSAYS Mousse 63 In the Living Present: Vivan Sundaram Share 1 2 3 4 5 6 7 8 9 10 by Natasha Ginwala About halfway through Vivan Sundaram’s retrospective exhibition Step inside and you are no longer a stranger at Kiran Nadar Museum of Art in New Delhi, one enters a dimly lit room where twelve beds made from iron frames and worn-down soles of discarded shoes form an eerie meshwork. The distinctive patterns on the soles appear as an abstract geometry of organic skins. Low-voltage bulbs cast flickering shadows that assume a negative cartography—an underbelly of scavenged remains that are like bodies without organs. (https://www.perrotin.com/exhibitions/paul_pfeiffer-desiderata/6391) It is no longer clear where we are: Is this a hospital ward? A night shelter? A refugee camp? 12- Bed Ward (2004) is one of Sundaram’s iconic installation works that draws together this artist’s continuing engagement with recycled materials and the objet trouvé to investigate the grammar of structural violence, migration, and exile, as well as detritus that may be understood as the “leftovers” of a globalized neoliberal economy. This retrospective highlights more than five decades of Sundaram’s artistic practice with around 180 artworks, from early paintings made in the 1960s during his years at the Slade School, London, to recent works, such as the multipart installation and sound piece Meanings of Failed Action: Insurrection 1946 (2017), made in collaboration with the cultural theorist Ashish Rajadhyaksha and the sound artist David Chapman, which surveys the affective history of an overlooked and unresolved episode in India’s anticolonial struggle, led by sailors of the Royal Indian Navy in Bombay (now Mumbai) in February 1946. The show reveals sustained trails of collective production and an active “politics of friendship” in the manner that Jacques Derrida and Maurice Blanchot suggest between “the community without community” that corresponds through asymmetrical interventions across a disjunctive network of texts.1 For instance Sundaram’s series Bad drawings for dost (2004-2005), an homage to fellow artist Bhupen Khakhar, is hand-drawn using tracing paper and graphite, evoking fragile memories from Khakhar’s artistic oeuvre, a corporeality brimming with desire and eventually treating the drawing as a place of mourning, since “the friend speaks to the friend already from beyond the grave.”2 Earlier works in this vein include the mixed-media triptych In Memory of Krishna Kumar (1990-1992), and a recurring investigation of family archives in The Sher-gil Archive (1995) and the photomontage series Re-take of Amrita (2001-2002). The portrait appears as a site of multivalent and hybrid recasting across these works—an intercrossing of gazes—as the edges between the artist’s selfhood and the projected framing of his subjects turn increasingly fluid. We are bought up close with the Sher-Gil family’s experiences of cosmopolitan living between worlds—British India and Europe—and a collaged narrative of modernism unfolds as witnessed through a private lens. Sundaram’s investigation of the archive is a nonlinear process and involves dismantling norms of fact and fiction—retroactively reading familial ties entangled with itinerant artistic pathways and the intimate lives of heirloom objects, possessed and left behind. After studying painting at the faculty of Fine Arts in M.S. University of Baroda under seminal artist K. G. Subramanyan in the early 1960s, Sundaram joined Slade School as a commonwealth scholar in 1966 and had the opportunity to be mentored by the American artist R. B. Kitaj.3 Kitaj played a significant role in British Pop art, using techniques of Warburgian image migrations and drawing from the literature of Franz Kafka and Walter Benjamin in response to his Jewish diasporic identity, realizing works that combined abstraction and figurative expression. Sundaram was influenced by these encounters, and moreover the charged atmosphere of 1968 student protests and the anti-Apartheid movement in Britain, as evident in his paintings May 68 and South Africa (both 1968). Art historian and curator Deepak Ananth writes of the painting May 68: “The parallel coloured bands that appear as an abstract compositional device could allude to the barricades in the streets of Paris, and that seemingly decorative flourish in red partially outlined against the white cut-out shape of a head and torso describes the form of a sickle.”4 These paintings are unique in their development of geometric abstraction, quoting from kitsch and popular culture while embracing figuration and symbolic forms from the young artist’s evolving political imagination. During his years at Slade School, Sundaram took a course on the history of cinema that led to a lifelong fascination with the surrealist tableaus of Luis Buñuel, the eros, Marxist values, and transcendental realism in Piero Paolo Pasolini’s works, and the experimental cinema of Stan Brakhage. In the painting From Stan Brakhage to Persian Miniature (1968) an exploding frame confronts us, as the artist compartmentalizes the picture plane using a sensorial and dramatic mode as witnessed in the hypnotic films of Brakhage, who deployed camera movements and rapid cutting, and treated celluloid as a drawing surface to routinely disrupt as well as expand the act of perception. Famously asking, “How many colors are there in a field of grass to the crawling baby unaware of ‘green’?” Sundaram simultaneously engages with the aesthetic language of Persian miniature painting, specifically its elaborate spatial arrangements and lively action involving imperial subjects, motifs from nature, calligraphy, and Islamic architecture. Illuminated manuscripts and intricate border paintings encode the interior and exterior, while prompting a circular perspective when “reading”Persian miniatures. Strike the old flints To kindle ancient lamps, light up the whips glued to your wounds throughout the centuries and light the axes gleaming with your blood. — Pablo Neruda, The Heights of Machu Picchu, 1947 Heights of Machu Picchu (1972) assembles as terrestrial poetry, dwelling on the words of poet and diplomat Pablo Neruda—that voice of stratified civilizations, blood and soil, and those volatile memory fields where antiquity crosses over into the living present. Sundaram accompanies the lines of Neruda’s poem through the rhythm of ink drawing, and this notational form casts movement—whirls and ripples, slopes and peaks, breaks and linkages—that add dimension to the enduring arc of poetry. It is as though the artist has embarked on an expedition, in rendering drawings that are textured with the ground beneath, subterranean time, and phases of human life spent in “accumulated autumns.” They invoke the atmosphere of ancient ruins and the Third World, while still seeking something beyond—“throughout the earth let dead lips congregate”—a revolutionary language to address human-earth relations. These drawings respond to the second canto in Neruda’s epic work Canto General, first published in Mexico in 1950. Coincidentally, hung close to Heights of Machu Picchu in the exhibition is another suite of drawings that Sundaram made in Mexico during a country-wide visit there in the late 1970s, looking back to the post-Mexican Revolution era and avant-garde muralism. These works were made during a phase when Sundaram became engaged in a Marxist approach, organizing traveling exhibitions with meetings of the Student Federation of India and the All India Kisan Sabha (the peasant front of the Communist Party of India) and investigating how the evolution of human struggle interrelates with the ethical function of art in modern times. The criticcurator Geeta Kapur notes, “I believe he [Sundaram] would like his drawings to carry, ultimately, what Neruda demands of his own poetry, ‘the reek of the human.’”5 The painting People Come and Go (1981), exhibited as part of the seminal exhibition Place for People at Jehangir Art Gallery, Bombay (now Mumbai) and Rabindra Bhavan, New Delhi, in1981, brings into focus the narrative-figurative school of painters that emerged in Baroda, which included the artists Nalini Malani, Gulam Mohammed Sheikh, Bhupen Khakhar, Sudhir Patwardhan and Jogen Chowdhury, while also gesturing toward the convivial spirit beyond, through endeavors such as the Kasauli workshop initiated by Sundaram in 1976. As a key member in this dialogic process, Geeta Kapur, in her manifesto-like essay, avowed the centrality of the human image in Indian art. A sense of corporeality and the politics of place remained foundational for inventing representational strategies that emanated from a postcolonial lived experience and cultural memory.6 Sundaram’s painting plots the intimate scene of Khakhar’s living room (where Khakhar used to paint) in Baroda, seated with his longtime friends Vallabh bhai and British painter Howard Hodgkin. Against a bright blue background, its door left slightly ajar for visitors, this home-studio is denoted as a motif for recounting elective affinities and intergenerational camaraderie that underscores vital characteristics of Indian modernism. The very act of painting, here, is marked by sociality, humor, and animated discussions extending outward—from the immediate neighborhood into the world. In the early 1990s, Sundaram extended his deeply physical encounters with painting while conducting experiments with materiality and surface in Collaboration/Combines (1992) and House/Boat (1994), which
Load more

Recommended publications
  • TIARA Research Final-Online
    TIARAResearch Insight Based Research Across Celebrities Indian Institute of Human Brands 2020 About IIHBThe Indian Institute of Human Brands (IIHB) has been set up by Dr. Sandeep Goyal, India’s best known expert in the domain of celebrity studies. Dr. Goyal is a PhD from FMS-Delhi and has been researching celebrities as human brands since 2003. IIHB has many well known academicians and researchers on its advisory board ADVISORY Board D. Nandkishore Prof. ML Singla Former Global Executive Board Former Dean Member - Nestlé S.A., Switzerland FMS Delhi Dr. Sandeep Goyal Chief Mentor Dr. Goyal is former President of Rediffusion, ex-Group CEO B. Narayanaswamy Prof. Siddhartha Singh of Zee Telefilms and was Founder Former Managing Director Associate Professor of Marketing Chairman of Dentsu India IPSOS and Former Senior Associate Dean, ISB 0 1 WHY THIS STUDY? Till 20 years ago, use of a celebrity in advertising was pretty rare, and quite much the exception Until Kaun Banega Crorepati (KBC) happened almost 20 years ago, top Bollywood stars would keep their distance from television and advertising In the first decade of this century though use of famous faces both in advertising as well as in content creation increased considerably In the last 10 years, the use of celebrities in communication has increased exponentially Today almost 500 brands, , big and small, national and regional, use celebrities to endorse their offerings 0 2 WHAT THIS STUDY PROVIDES? Despite the exponential proliferation of celebrity usage in advertising and content, WHY there is no organised body of knowledge on these superstars that can help: BEST FIT APPROPRIATE OR BEST FIT SELECTION COMPETITIVE CHOOSE BETTER BETWEEN BEST FITS PERCEPTION CHOOSE BASIS BRAND ATTRIBUTES TRENDY LOOK AT EMERGING CHOICES FOR THE FUTURE 0 3 COVERAGE WHAT 23 CITIES METRO MINI METRO LARGE CITIES Delhi Ahmedabad Nagpur (incl.
    [Show full text]
  • 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.
    [Show full text]
  • Masculinity and the Structuring of the Public Domain in Kerala: a History of the Contemporary
    MASCULINITY AND THE STRUCTURING OF THE PUBLIC DOMAIN IN KERALA: A HISTORY OF THE CONTEMPORARY Ph. D. Thesis submitted to MANIPAL ACADEMY OF HIGHER EDUCATION (MAHE – Deemed University) RATHEESH RADHAKRISHNAN CENTRE FOR THE STUDY OF CULTURE AND SOCIETY (Affiliated to MAHE- Deemed University) BANGALORE- 560011 JULY 2006 To my parents KM Rajalakshmy and M Radhakrishnan For the spirit of reason and freedom I was introduced to… This work is dedicated…. The object was to learn to what extent the effort to think one’s own history can free thought from what it silently thinks, so enable it to think differently. Michel Foucault. 1985/1990. The Use of Pleasure: The History of Sexuality Vol. II, trans. Robert Hurley. New York: Vintage: 9. … in order to problematise our inherited categories and perspectives on gender meanings, might not men’s experiences of gender – in relation to themselves, their bodies, to socially constructed representations, and to others (men and women) – be a potentially subversive way to begin? […]. Of course the risks are very high, namely, of being misunderstood both by the common sense of the dominant order and by a politically correct feminism. But, then, welcome to the margins! Mary E. John. 2002. “Responses”. From the Margins (February 2002): 247. The peacock has his plumes The cock his comb The lion his mane And the man his moustache. Tell me O Evolution! Is masculinity Only clothes and ornaments That in time becomes the body? PN Gopikrishnan. 2003. “Parayu Parinaamame!” (Tell me O Evolution!). Reprinted in Madiyanmarude Manifesto (Manifesto of the Lazy, 2006). Thrissur: Current Books: 78.
    [Show full text]
  • Postcolonial Pirate Domain." Postcolonial Piracy: Media Distribution and Cultural Production in the Global South
    Poduval, Satish. "Hacking and Difference: Reflections on Authorship in the Postcolonial Pirate Domain." Postcolonial Piracy: Media Distribution and Cultural Production in the Global South. Ed. Lars Eckstein and Anja Schwarz. London: Bloomsbury Academic, 2014. 273–292. Bloomsbury Collections. Web. 2 Oct. 2021. <http://dx.doi.org/10.5040/9781472519450.ch-012>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 06:23 UTC. Copyright © Lars Eckstein and Anja Schwarz 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 12 Hacking and Difference Reflections on Authorship in the Postcolonial Pirate Domain Satish Poduval Philip K. Dick famously observed about science fiction that ‘Jules Verne’s story of travel to the moon is not SF because they go by rocket but because of where they go. It would be as much SF if they went by rubber band’ (Dick 1995: 57). A remark like that is peculiarly resonant in postcolonial spaces where historical experience tends to be framed as a story of travel, as a destinal narrative1 in which modernity is simul- taneously a destination to be reached and the ensemble of mechanisms destined to accelerate the journey. However, in recent decades, the helical loop of this narrative appears to be unravelling. Neither the vision nor the vehicle of modernization is any longer monopolized by the state or the older national elites, and earlier conceptions of a shared Third World identity forged by imperial exploitation and industrial backwardness do not typify the global South uniformly today.
    [Show full text]
  • The Cinema of Satyajit Ray Between Tradition and Modernity
    The Cinema of Satyajit Ray Between Tradition and Modernity DARIUS COOPER San Diego Mesa College PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written perrnission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Sabon 10/13 pt. System QuarkXpress® [mg] A catalog record for this book is available from the British Library Library of Congress Cataloging in Publication Data Cooper, Darius, 1949– The cinema of Satyajit Ray : between tradition and modernity / Darius Cooper p. cm. – (Cambridge studies in film) Filmography: p. Includes bibliographical references and index. isbn 0 521 62026 0 (hb). – isbn 0 521 62980 2 (pb) 1. Ray, Satyajit, 1921–1992 – Criticism and interpretation. I. Title. II. Series pn1998.3.r4c88 1999 791.43´0233´092 – dc21 99–24768 cip isbn 0 521 62026 0 hardback isbn 0 521 62980 2 paperback Contents List of Illustrations page ix Acknowledgments xi Introduction 1 1. Between Wonder, Intuition, and Suggestion: Rasa in Satyajit Ray’s The Apu Trilogy and Jalsaghar 15 Rasa Theory: An Overview 15 The Excellence Implicit in the Classical Aesthetic Form of Rasa: Three Principles 24 Rasa in Pather Panchali (1955) 26 Rasa in Aparajito (1956) 40 Rasa in Apur Sansar (1959) 50 Jalsaghar (1958): A Critical Evaluation Rendered through Rasa 64 Concluding Remarks 72 2.
    [Show full text]
  • Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
    Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.
    [Show full text]
  • A Fragile Inheritance
    Saloni Mathur A FrAgile inheritAnce RadicAl StAkeS in contemporAry indiAn Art Radical Stakes in Contemporary Indian Art ·· · 2019 © 2019 All rights reserved Printed in the United States o America on acid- free paper ♾ Designed by Matthew Tauch Typeset in Quadraat Pro by Tseng Information Systems, Inc. Library o Congress Cataloging- in- Publication Data Names: Mathur, Saloni, author. Title: A fragile inheritance : radical stakes in contemporary Indian art / Saloni Mathur. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identi£ers: ¤¤ 2019006362 (print) | ¤¤ 2019009378 (ebook) « 9781478003380 (ebook) « 9781478001867 (hardcover : alk. paper) « 9781478003014 (pbk. : alk. paper) Subjects: ¤: Art, Indic—20th century. | Art, Indic—21st century. | Art—Political aspects—India. | Sundaram, Vivan— Criticism and interpretation. | Kapur, Geeta, 1943—Criticism and interpretation. Classi£cation: ¤¤ 7304 (ebook) | ¤¤ 7304 .384 2019 (print) | ¤ 709.54/0904—dc23 ¤ record available at https://lccn.loc.gov/2019006362 Cover art: Vivan Sundaram, Soldier o Babylon I, 1991, diptych made with engine oil and charcoal on paper. Courtesy o the artist. Duke University Press gratefully acknowledges the ¤ Academic Senate, the ¤ Center for the Study o Women, and the ¤ Dean o Humanities for providing funds toward the publication o this book. ¶is title is freely available in an open access edition thanks to the initiative and the generous support o Arcadia, a charitable fund o Lisbet Rausing and Peter Baldwin, and o the ¤ Library. vii 1 Introduction: Radical Stakes 40 1 Earthly Ecologies 72 2 The Edice Complex 96 3 The World, the Art, and the Critic 129 4 Urban Economies 160 Epilogue: Late Styles 185 211 225 I still recall my £rst encounter with the works o art and critical writing by Vivan Sundaram and Geeta Kapur that situate the central concerns o this study.
    [Show full text]
  • Maya, Tradition and Modernity in Shaji Karun's Vaanaprastham
    Australian Folklore 25, 2010 67 Maya, Tradition and Modernity in Shaji Karun’s Vaanaprastham Julie Marsh ABSTRACT: The 1999 Indian/French film, Vaanaprastham (The Last Dancer), reflects the changing world of a South Indian community by depicting life episodes of a Kathakali dancer. Still engaged with traditional social mores and mythologies, the community struggles to absorb influences of modernity—altered expectations of the individual and of gender and caste relations. The story is mediated through the foundational philosophy of maya: that appearances are illusory. The multi-award winning Indian/French film Vaanaprastham1 is conspicuous for its use of themes based in Sanskritic philosophy and literary tradition, notable amongst which is the foundational concept of maya (the illusory quality of reality). As the role of maya has always been to give perspective on ‘reality’, Vaanaprastham places this essential question against the fracturing social changes of post independence India, where ideas of modernity and identity challenge traditional roles for culture and community. Established social and cultural modes—that of the Kathakali dancers enacting well-loved tales from the epic Mahabharata—are used to ponder the overlapping social and mythologised worlds. This conjunction is an important one, for it recognises the vexed place of myth and religion in the modern world, which defines itself, in part, by separating these ‘worlds’ into binaries of mythic versus real, religious versus secular.2 Vaanaprastham has been called ‘a deep meditation on fiction and reality’,3 for with its narrative built upon ideas of illusion and the conscious creation of realities, it enacts a quest to illuminate the complex that is identity.
    [Show full text]
  • Department of Visual Arts
    DEPARTMENT OF VISUAL ARTS MOHANLAL SUKHADIA UNIVERSITY, UDAIPUR M. A. Drawing & Painting (CBCS), 2017 CBCS SYLLABUS 2017-18 1 DEPARTMENT OF VISUAL ARTS, MOHANLAL SUKHADIA UNIVERSITY, UDAIPUR M.A. Drawing & Painting (CBCS), 2017 SEMESTER – I Max. Marks Course No. of Course code Title of the course L-T-P Univ. Internal Total S. No. credits Exam Assessment Paper-I History of Western Art-I M1D&P1-CT01 T-1 + L-3 = 4 04 80 20 100 (Core) (Theory) Paper-II History of Modern Art-I M1D&P2-CT02 T-1 + L-3 = 4 04 80 20 100 (Core) (Theory) Paper-III Out door Study & M1D&P3-CP01 P-8 04 - 100 100 (Core) Assignment Paper-IV Advance Painting M1D&P4-CP02 P-8 04 80 20 100 (Core) (Practical) Paper-V Print Making M1D&P5-CP03 P-8 04 80 20 100 (Core) (Practical) Paper-VI Art & New Media M1D&P6-CP04 P-8 04 80 20 100 (Core) (Practical) 2 Paper-I(Core) – History of Western Art - I (Theory) 20 +80 =100 Marks Paper Code – M1D&P1-CT01 Exam Duration- 3 Hours Study of Western art history across culture and time offers opportunities to consider gradual developments and different periods of western art scene from pre historic to realism in 2 successive semesters i.e. I & II. This theory paper teaching meant to provide a detail introduction & Chief characteristics of Western art history periods mentioned below - Unit I - Prehistoric & Egyptian Art Unit II – Early Greek era & Greek Art Unit III- Hellenistic, Roman & Etruscan Art Unit IV- Early Christian & Byzantine Art Unit V- Romanesque and Gothic Art Note- Continuous assessment shall be done every month by the teacher concerned.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Dying Breaths: Bhupen Khakhar, Queerness, and Late Style Permalink https://escholarship.org/uc/item/81j3m010 Author Mukhopadhyay, Sayantan Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Dying Breaths: Bhupen Khakhar, Queerness, and Late Style A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Art History by Sayantan Mukhopadhyay © Copyright by Sayantan Mukhopadhyay 2017 ABSTRACT OF THE THESIS Dying Breaths: Bhupen Khakhar, Queerness, and Late Style by Sayantan Mukhopadhyay Master of Arts in Art History University of California, Los Angeles, 2017 Saloni Mathur, Chair Bhupen Khakhar’s legacy lives on as one of the most radical Indian painters of his generation. Working in Baroda and gaining recognition throughout the 80’s and 90’s, Khakhar was a pioneering voice in queer aesthetics in context of South Asian modernism. This paper examines the last phase of his career before his death in 2003, in which the artist traded out images of homoerotic jouissance for pictures depicting gore, disease, and the macabre. I argue that death’s intimate connection with queer identity helps provide an ontological bridge between his earlier work and his ‘late style.’ I first give an overview of the stakes of inserting a queer visual lexicon in the modern moment, comparing India’s experience of modernity to the canonical moment in nineteenth century France for corollaries. before giving a broad overview of the artist’s biography, as well ii as the scholarship that has already been conducted on him.
    [Show full text]
  • Cinema at the End of Empire: a Politics of Transition
    cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3.
    [Show full text]
  • The Exile of Maqbool Fida Husain
    This text is an unedited draft on the basis of which the speaker delivered a seminar, talk or lecture at the venue(s) and event(s) cited below. The title and content of each presentation varied in response to the context. There is a slide-show below that accompanies this document. If the text has been worked upon and published in the form of an essay, details about the version(s) and publication(s) are included in the section pertaining to Geeta Kapur’s published texts. Venue • Lecture: The Exile of M.F. Husain, SAHMAT, New Delhi, 24th August 2009 The Exile of Maqbool Fida Husain Modernist Myths Contrary to the claims of the canon, modernism is countered/complemented by distinctly different genealogies of the modern, and it flowers and shrinks at different political and cultural sites during the twentieth century. In its many avatars, modernism comes to be inscribed within different civilizational structures, national cultures, artisanal protocols, whereby other linguistic and iconographic resources open up, posing questions to the western rubric of authorship and style. Husain’s position exemplifies such a conjunction—where artistic autonomy of the modernist kind is ‘balanced’ by an assumed access to cultural plenitude so that a different ambition is put in place with regard to the symbolic.1 In the Indian setting, modernist myths develop multiple mandates: the modernity project, with its aspirations for ‘advancement’ and its claims to becoming the shared language of universal modernism, is expanded to the mythic imaginary and thence to metaphors and narratives that lie outside the modernist grid.
    [Show full text]