By Rebecca M. Brown
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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