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In A Fragile Inheritance Saloni Mathur investigates the work of two seminal figures from the global South: the New Delhi-based critic and curator Geeta Kapur and contemporary multimedia artist Vivan Sundaram. Examining their written and visual works over the past fifty years, Mathur illuminates how her protagonists’ political and aesthetic commitments intersect and foreground uncertainty, difficulty, conflict, and contradiction. This book presents new understandings of the culture and politics of decolonization and the role of non-Western aesthetic avant-gardes within the discourses of contemporary art. Through skillful interpretation of Sundaram's and Kapur’s practices, Mathur demonstrates how received notions of mainstream art history may be investigated and subjected to creative redefinition. Her scholarly methodology offers an impassioned model of critical aesthetics and advances a radical understanding of art and politics in our time.

Art, Indic --- Art --- Political aspects --- Sundaram, Vivan --- Kapur, Geeta, --- Criticism and interpretation. --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Indic art --- Art, Modern --- Geeta Kapur, --- Vivan Sundaram --- Art, Primitive --- Geeta Kapur --- South Asian art --- art criticism --- global contemporary art

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Volume Three contains 1643 records on South Asia selected from the ABIA South and Southeast Asian Art and Archaeology Index database at www.abia.net. Volume Three has been compiled by specialists of the ABIA Project stationed at Leiden, Colombo, New Delhi, Dhaka, Kathmandu and Peshawar. It features a selection of publications in print published between 2002 and 2007 on prehistory and protohistory, historical archaeology, art history (from ancient to contemporary), material culture, epigraphy and palaeography, numismatics and sigillography. Covered are South Asia and culturally related regions of Afghanistan, South Uzbekistan, South Tajikistan and Tibet. The bibliographic descriptions (with the original diacritics), controlled keywords and elucidating annotations make this reference work into a reliable guide to recent scholarly work in the fields of the ABIA Index.

Art, Southeast Asian --- Art, South Asian --- Archaeology --- Art de l'Asie du Sud-Est --- Art sud-asiatique --- Archéologie --- Indexes --- Bibliography --- Index --- Bibliographie --- Southeast Asia --- South Asia --- Asie du Sud-Est --- Asie méridionale --- Antiquities --- Antiquités --- Art, Indic --- Bibliography. --- Asia, Southeastern --- Southeast Asian art --- Indic art --- South Asian art --- Asia, Southeast --- South East Asia --- Southeastern Asia --- Asia, South --- Asia, Southern --- Indian Sub-continent --- Indian Subcontinent --- Southern Asia --- Orient --- Archaeology - South Asia --- Archaeology - Asia, Southeastern --- Asia, Southeastern - Antiquities --- South Asia - Antiquities

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In Spring 1938, an Indian dancer named Ram Gopal and an American writer-photographer named Carl Van Vechten came together for a photoshoot in New York City. Ram Gopal was a pioneer of classical Indian dance and Van Vechten was reputed as a prominent white patron of the African-American movement called the Harlem Renaissance. Photo-Attractions describes the interpersonal desires and expectations of the two men that took shape when the dancer took pose in exotic costumes in front of Van Vechten’s Leica camera. The spectacular images provide a rare and compelling record of an underrepresented history of transcultural exchanges during the interwar years of early-20th century, made briefly visible through photography. Art historian Ajay Sinha uses these hitherto unpublished photographs and archival research to raise provocative and important questions about photographic technology, colonial histories, race, sexuality and transcultural desires. Challenging the assumption that Gopal was merely objectified by Van Vechten’s Orientalist gaze, he explores the ways in which the Indian dancer co-authored the photos. In Sinha’s reading, Van Vechten’s New York studio becomes a promiscuous contact zone between world cultures, where a “photo-erotic” triangle is formed between the American photographer, Indian dancer, and German camera. A groundbreaking study of global modernity, Photo-Attractions brings scholarship on American photography, literature, race and sexual economies into conversation with work on South Asian visual culture, dance, and gender. In these remarkable historical documents, it locates the pleasure taken in cultural difference that still resonates today.

Dancers --- Portrait photography. --- Ram Gopal, --- Beinecke Rare Book and Manuscript Library --- Photograph collections. --- Ram Gopal, Carl Van Vetchen, photography, photography analysis, artistic analysis, cultural reflections, cameras, Nikon cameras, cheap video camera, cheap photography camera, NYC photoshoots, NYC activism, LGBT rights, LGBT activism, homoeroticism, cultural interactions, Canon cameras, global interactions, South Asian art, South Asian history, Indian culture, Indian art, Indian dancing, cross-cultural art, multicultural art, dance photography, dancing.

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"India retains one of the richest painting traditions in the history of global visual culture, one that both parallels aspects of European traditions and also diverges from it. While European artists venerated the landscape and landscape paintings, it is rare in the Indian tradition to find depictions of landscapes for their sheer beauty and mood, without religious or courtly significance. There is one glorious exception: Painters from the city of Udaipur in Northwestern India specialized in depicting places, including the courtly worlds and cities of rajas, sacred landscapes of many gods, and bazaars bustling with merchants, pilgrims, and craftsmen. Their court paintings and painted invitation scrolls displayed rich geographic information, notions of territory, and the bhāva, or feel, emotion, and mood of a place. This is the first book to use artistic representations of place to trace the major aesthetic, intellectual, and political shifts in South Asia over the long eighteenth century. While James Tod, the first British colonial agent based in Udaipur, established the region's reputation as a principality in a state of political and cultural deterioration, author Dipti Khera uses these paintings to suggest a counter-narrative of a prosperous region with beautiful and bountiful cities, and plentiful rains and lakes. She explores the perspectives of courtly communities, merchants, pilgrims, monks, laypeople, and officers, and the British East India Company's officers, explorers, and artists. Throughout, she draws new conclusions about the region's intellectual and artistic practices, and its shifts in political authority, mobility, and urbanity"--

Painting --- Art and society --- Political aspects --- History --- History --- Udaipur (Rajasthan, India) --- Udaipur (Rajasthan, India) --- Intellectual life --- Agra. --- Allison Busch. --- AnaSagar Lake. --- Andrew Topsfield. --- Aurangzeb. --- Barry Flood. --- British East India Comapny. --- British India. --- Chanchal Dadlani. --- Climate Change and the Art of Devotion. --- Court Painting at Udaipur. --- Cynthia Talbot. --- David Dean Shulman. --- Debra Diamond. --- Francesca Orsini. --- Frederic Church. --- From Stone to Paper. --- Garden and Cosmos. --- Heidi Pauwels. --- Imke Rajamani. --- Indian aesthetics. --- Indian artistic practices. --- Indian painting. --- Jagniwas lake palace. --- James Tod. --- Jennifer Raab. --- Jodhpur. --- Kai Singh. --- Katherine Butler Schofield. --- Krishna. --- Lake Pichola. --- Maharana Amar Singh. --- Mapping an Empire. --- Margrit Pernau. --- Matthew Edney. --- Mewar. --- Mimesis across Empires. --- Mobilizing Krishna's World. --- Molly Emma Aitken. --- Monsoon Feelings. --- More than Real. --- Mughal India. --- Mughal empire. --- Mughal. --- Natasha Eaton. --- Norbert Peabody. --- Objects of Translation. --- Poetry of Kings. --- Princes and Painters in Mughal Delhi. --- Raj Singh. --- Rajasthan. --- Rajput. --- Rajsamand Lake. --- Ramya Sreenivasan. --- Romita Ray. --- Salivahana. --- Sangram Singh. --- Shah Janan. --- Shirine Hamadeh. --- Sisodia Rajputs. --- South Asian art. --- South India. --- Sugata Ray. --- The City's Pleasures. --- The Intelligence of Tradition in Rajput Court Painting. --- Under the Banyan Tree. --- Vittoria Di Palma. --- Wasteland a History. --- William Dalrymple. --- William Hodges. --- Yuthika Sharma. --- aesthetics. --- art and empire. --- art and religion. --- art history. --- court painting. --- early modern art. --- eighteenth-century India. --- global eighteenth century. --- history of early modern South Asian art. --- history of landscape. --- land of kings. --- late Mughal. --- letter-scrolls. --- long eighteenth century. --- monsoons. --- political imaginary. --- precolonial South Asia. --- sensory histories. --- tamasa. --- tamasha. --- thakurs.