By Rebecca M. Brown
Through shut analyses of particular gadgets of artwork and layout, Brown describes how Indian artists engaged with questions of authenticity, iconicity, narrative, urbanization, and technology and expertise. She explains how the filmmaker Satyajit Ray offered the agricultural Indian village as a socially advanced area instead of because the idealized web site of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar transformed Indian people idioms and borrowed iconic pictures from calendar prints in his work of city dwellers, and the way Indian architects constructed a revivalist form of daring architectural gestures anchored in India’s previous as they deliberate the Ashok inn and the Vigyan Bhavan convention middle, either in New Delhi. Discussing those and different artworks and layout, Brown chronicles the mid-twentieth-century trajectory of India’s sleek visible culture.
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