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"Portrait photography India."
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Photo-Attractions
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Art historian Ajay Sinha uses these hitherto unpublished photographs and archival research to raise provocative and important questions about photographic technology, colonial histories, race, sexuality and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 In these remarkable historical documents, it locates the pleasure taken in cultural difference that still resonates today.
eBook
Artistic meanderings through Coolitude
Referencing two 19th-century identity photographs of Indian migrants named Beekano and Doorgana, taken from the research of historian Marina Carter at the Mauritian Archives, Flynn has produced artworks using the obsolete method of screen-printing to transform the portraits that originally were to aid an oppressive colonial regime focused on policing and immobilizing its immigrant labour. He has also involved the same two individuals in a fictionalized scene in which a surreal fantasy takes Beekano on a journey where he is stripped of his physical body and disappears to be released before any destination is arrived at.
Journal Article
The Portrait's Journey: The Image, Social Communication and Martyr-Making in Colonial India
Bhagat Singh, the revolutionary nationalist executed by the British in 1931, continues to be an enormously popular figure in contemporary India, immediately recognizable in ubiquitous posters, stickers and placards by his distinctive hat. This article uncovers the story behind Bhagat Singh's original ‘hat photograph’ by tracing the portrait's journey from the time it was taken, in 1929, to the early 1930s. The portrait was devised as a tactic of political subversion and intended as revolutionary propaganda, although it became more widely interpreted as an icon of defiant nationalism and a symbol of imperial injustice. The image quickly morphed from its original format, and rapidly circulated in the form of reproductions, paintings and drawings, travelling well beyond the confines of the literate domain, making a decisive impact on the charged political landscape of the early 1930s.
Journal Article
Aam Aastha : Indian devotions
Internationally renowned photographer Charles Fréger continues to explore global traditions and cultures, by celebrating the powerful visual aspects of Indian folk culture and religious ritual. India is the home to a myriad of local traditions, legends and religions, each with their own festivals, rites and rituals. Celebrations burst with vivid colours and often wildly exuberant costumes, some representing gods and goddesses, others legendary heroes from Sanskrit epics such as the Mahabharata and the Ramayana. In Charles Fréger's photographs, those who honour local cultural traditions are represented in single or group portraits, represented against carefully chosen landscapes and backdrops, from the heart of festivals and celebrations.
Book
ART
Poolaw took his earliest photographs around the time that the first Kiowa easel painters entered the University of Oklahoma. In Oklahoma, the Anadarko area was one of the central sites where Indian craft cooperatives and artistic careers commenced and flourished in the early twentieth century. Beginning in 1926, the Anadarko field matron Susie Peters introduced four Kiowa painters to the University of Oklahoma’s School of Art director Oscar Jacobson for more advanced training in art: Stephen Mopope, Spencer Asah, Monroe Tsa-toke, and Jack Hokeah.¹ In 1927, James Auchiah, along with one Kiowa woman painter, Lois Smoky (Kaulaity), joined the four
Book Chapter