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 know-how. She explains how the filmmaker Satyajit Ray offered the agricultural Indian village as a socially advanced house instead of because the idealized website of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar remodeled Indian people idioms and borrowed iconic pictures from calendar prints in his work of city dwellers, and the way Indian architects built a revivalist sort of daring architectural gestures anchored in India’s prior as they deliberate the Ashok inn and the Vigyan Bhavan convention heart, 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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Art for a Modern India, 1947-1980 (Objects/Histories) by Rebecca M. Brown