Art for a Modern India, 1947-1980 (Objects/Histories) - download pdf or read online

By Rebecca M. Brown

Following India’s independence in 1947, Indian artists growing glossy artworks sought to take care of an area idiom, an “Indianness” consultant in their newly self sufficient state, whereas connecting to modernism, a cultured then understood as either common and presumptively Western. those artists depicted India’s precolonial earlier whereas embracing features of modernism’s pursuit of the recent, and so they challenged the West’s dismissal of non-Western areas and cultures as resources of primitivist imagery yet now not of modernist works of art. 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, through which time the Indian artwork scene had replaced considerably and postcolonial discourse had all 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 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

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