Art for a Modern India, 1947-1980 (Objects/Histories) by Rebecca M. Brown

March 4, 2017 by admin

By Rebecca M. Brown

Following India’s independence in 1947, Indian artists developing glossy artistic endeavors sought to keep up a neighborhood idiom, an “Indianness” consultant in their newly self reliant state, whereas connecting to modernism, a classy then understood as either common and presumptively Western. those artists depicted India’s precolonial earlier whereas embracing facets of modernism’s pursuit of the recent, they usually challenged the West’s dismissal of non-Western areas and cultures as assets of primitivist imagery yet now not of modernist artistic endeavors. In Art for a contemporary India, Rebecca M. Brown explores the emergence of a self-conscious Indian modernism—in portray, drawing, sculpture, structure, movie, and photography—in the years among independence and 1980, wherein time the Indian artwork scene had replaced considerably and postcolonial discourse had started to complicate mid-century rules of nationalism.

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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