Titlebook: Intersections of Contemporary Art, Anthropology and Art History in South Asia; Decoding Visual Worl Sasanka Perera,Dev Nath Pathak Book 201

小步走路

Mimicking Anthropologists: Re-Membering a Photo Archive via Pata Paintings, Performative Mimesis, anore district of West Bengal in India as postgraduate students of the Faculty of Fine Arts, Maharaja Sayajirao University of Baroda, India. This documentation project was conceptualized by Professor Gulam Mohammed Sheikh to address the wide gulf that existed between folk artists and art school-traine

CAMEO

Reframing the Contexts for Pakistani Contemporary Artc practices and is an extension of daily life. The overall aesthetics was dictated by the essence of the region, and the need to be connected to the Greater Being through creativity. In the context of Pakistan, the discursive formations of art history were arrested by the state’s idea of modernising

使害羞

‘Art’ of Ethnography: Feminist Ethnography and Women Artists in South Asiae primary ethnographic material. The chapter argues in the affirmative. In spite of the concerns, scepticisms and questions surrounding feminist ethnography in general and in the context of South Asia in particular, art by women in the region can serve as a powerful material for ethnographic inquiry

条街道往前推

cumulative

旋转一周

笨拙的你

Imposed, Interrupted and Other Identities: Rupture as Opportunity in the Art History of Pakistanportunity. The first rupture, centered on modernism, created a tension between artists and a society that could not access its seemingly alien esthetic. The second rupture was heralded by forces of religious extremism. These two moments of rupture shifted the axis of entrenched values in art and ope

osteoclasts

Transcending and Subverting Boundaries: Understanding the Dynamics of Street Art Scene in Nepala larger audience in a context it was younger artists who gave initial impetus to the formation of street art scene in Nepal. This chapter looks at Nepali street art as a social product that embodies the interplay between the personal, on the one hand, and the political, on the other hand, as well a

Expediency

Ruptures of Rasheed Araeen in the Politics of Visual Art: Toward a New Art Discourse in Pakistane of their socially productive intervention within a public space and connect to a historical frame. Araeen’s Theory of Nominalism was presented in Karachi, in 2003, and his work, ., was installed at Documenta 14, in Athens, in 2017. Araeen’s larger trajectory of subversion and confrontation is well

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