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

By Rebecca M. Brown

Following India’s independence in 1947, Indian artists developing glossy artistic endeavors sought to keep up an area idiom, an “Indianness” consultant in their newly autonomous state, whereas connecting to modernism, a classy then understood as either common and presumptively Western. those artists depicted India’s precolonial previous whereas embracing elements of modernism’s pursuit of the hot, they usually challenged the West’s dismissal of non-Western areas and cultures as assets of primitivist imagery yet no longer 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, wherein time the Indian paintings scene had replaced considerably and postcolonial discourse had started to complicate mid-century principles of nationalism.

Through shut analyses of particular gadgets of paintings 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 complicated house instead of because the idealized website of “authentic India” in his acclaimed Apu Trilogy, how the painter Bhupen Khakhar remodeled Indian folks idioms and borrowed iconic photographs from calendar prints in his work of city dwellers, and the way Indian architects constructed a revivalist sort of daring architectural gestures anchored in India’s previous as they deliberate the Ashok lodge and the Vigyan Bhavan convention heart, either in New Delhi. Discussing those and different artistic endeavors and layout, Brown chronicles the mid-twentieth-century trajectory of India’s smooth visible culture.

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