Partisan aesthetics: modern art and India's long decolonization
Partisan Aesthetics' explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political throug...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Stanford, California
Stanford University Press
[2020]
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| Schriftenreihe: | South Asia in motion
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| Schlagworte: | |
| Zusammenfassung: | Partisan Aesthetics' explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives-drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints-and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, 'Partisan Aesthetics' generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization |
| Beschreibung: | xvi, 318 Seiten 30 Illustrationen 23 cm |
| ISBN: | 9781503612990 9781503611948 |
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| 505 | 8 | |a Part 1. Dialogues and dissonances: "Political potentiality" : Jamini Roy and the formations of progressive art criticism -- "As agitator and organizer" : Socialist realism and artist-cadres of the Communist Party of India -- "Concrete contextuality" : realism and its discontents in the art of the Calcutta Group -- Part 2. Postcolonial displacements: "All the more real for not being preached" : forms and futures of socialist art in Nehruvian India -- "Revolution in the Tropics, love in the Tropics" : arts of displacement in the post-colony -- Postscript : Toward an aesthetics of deconolonization | |
| 520 | 3 | |a Partisan Aesthetics' explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives-drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints-and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, 'Partisan Aesthetics' generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization | |
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| contents | Part 1. Dialogues and dissonances: "Political potentiality" : Jamini Roy and the formations of progressive art criticism -- "As agitator and organizer" : Socialist realism and artist-cadres of the Communist Party of India -- "Concrete contextuality" : realism and its discontents in the art of the Calcutta Group -- Part 2. Postcolonial displacements: "All the more real for not being preached" : forms and futures of socialist art in Nehruvian India -- "Revolution in the Tropics, love in the Tropics" : arts of displacement in the post-colony -- Postscript : Toward an aesthetics of deconolonization |
| ctrlnum | (OCoLC)1199068216 (DE-599)BVBBV046836286 |
| era | Geschichte 1940-1970 gnd |
| era_facet | Geschichte 1940-1970 |
| format | Book |
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| isbn | 9781503612990 9781503611948 |
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| spelling | Sunderason, Sanjukta Verfasser (DE-588)1218730536 aut Partisan aesthetics modern art and India's long decolonization Sanjukta Sunderason Stanford, California Stanford University Press [2020] © 2020 xvi, 318 Seiten 30 Illustrationen 23 cm txt rdacontent n rdamedia nc rdacarrier South Asia in motion Part 1. Dialogues and dissonances: "Political potentiality" : Jamini Roy and the formations of progressive art criticism -- "As agitator and organizer" : Socialist realism and artist-cadres of the Communist Party of India -- "Concrete contextuality" : realism and its discontents in the art of the Calcutta Group -- Part 2. Postcolonial displacements: "All the more real for not being preached" : forms and futures of socialist art in Nehruvian India -- "Revolution in the Tropics, love in the Tropics" : arts of displacement in the post-colony -- Postscript : Toward an aesthetics of deconolonization Partisan Aesthetics' explores art's entanglements with histories of war, famine, mass politics and displacements that marked late-colonial and postcolonial India. Introducing "partisan aesthetics" as a conceptual grid, the book identifies ways in which art became political through interactions with left-wing activism during the 1940s, and the afterlives of such interactions in post-independence India. Using an archive of artists and artist collectives working in Calcutta from these decades, Sanjukta Sunderason argues that artists became political not only as reporters, organizers and cadre of India's Communist Party, or socialist fellow travelers, but through shifting modes of political participations and dissociations. Unmooring questions of Indian modernism from its hitherto dominant harnesses to national or global affiliations, Sunderason activates, instead, distinctly locational histories that refract transnational currents. She analyzes largely unknown and dispersed archives-drawings, diaries, posters, periodicals, and pamphlets, alongside paintings and prints-and insists that art as archive is foundational to understanding modern art's socialist affiliations during India's long decolonization. By bringing together expanding fields of South Asian art, global modernisms, and Third World cultures, 'Partisan Aesthetics' generates a new narrative that combines political history of Indian modernism, social history of postcolonial cultural criticism, and intellectual history of decolonization Geschichte 1940-1970 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Politische Kunst (DE-588)4175029-9 gnd rswk-swf Politik (DE-588)4046514-7 gnd rswk-swf West Bengal (DE-588)4079196-8 gnd rswk-swf Art / Political aspects / India / Bengal / History / 20th century Art and society / India / Bengal / History / 20th century Postcolonialism and the arts / India / Bengal West Bengal (DE-588)4079196-8 g Kunst (DE-588)4114333-4 s Politik (DE-588)4046514-7 s Politische Kunst (DE-588)4175029-9 s Geschichte 1940-1970 z DE-604 Erscheint auch als Online-Ausgabe 978-1-5036-1300-3 |
| spellingShingle | Sunderason, Sanjukta Partisan aesthetics modern art and India's long decolonization Part 1. Dialogues and dissonances: "Political potentiality" : Jamini Roy and the formations of progressive art criticism -- "As agitator and organizer" : Socialist realism and artist-cadres of the Communist Party of India -- "Concrete contextuality" : realism and its discontents in the art of the Calcutta Group -- Part 2. Postcolonial displacements: "All the more real for not being preached" : forms and futures of socialist art in Nehruvian India -- "Revolution in the Tropics, love in the Tropics" : arts of displacement in the post-colony -- Postscript : Toward an aesthetics of deconolonization Kunst (DE-588)4114333-4 gnd Politische Kunst (DE-588)4175029-9 gnd Politik (DE-588)4046514-7 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4175029-9 (DE-588)4046514-7 (DE-588)4079196-8 |
| title | Partisan aesthetics modern art and India's long decolonization |
| title_auth | Partisan aesthetics modern art and India's long decolonization |
| title_exact_search | Partisan aesthetics modern art and India's long decolonization |
| title_exact_search_txtP | Partisan aesthetics modern art and India's long decolonization |
| title_full | Partisan aesthetics modern art and India's long decolonization Sanjukta Sunderason |
| title_fullStr | Partisan aesthetics modern art and India's long decolonization Sanjukta Sunderason |
| title_full_unstemmed | Partisan aesthetics modern art and India's long decolonization Sanjukta Sunderason |
| title_short | Partisan aesthetics |
| title_sort | partisan aesthetics modern art and india s long decolonization |
| title_sub | modern art and India's long decolonization |
| topic | Kunst (DE-588)4114333-4 gnd Politische Kunst (DE-588)4175029-9 gnd Politik (DE-588)4046514-7 gnd |
| topic_facet | Kunst Politische Kunst Politik West Bengal |
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