As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications It questions the temporal, spatial, and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. Thinking from the south, all the essays here are anchored in a conception of a region - one fissured by histories of partition, state formations, and religious nationalisms but still offering a collective site from which to speak to the disciplines of art and the knowledge worlds in which they are embedded. The book asks: How do we complicate the religious designations of pre-modern art and architecture and the new forms of their resurgence in contemporary iconographies and monuments? How do we re-conceptualize the public and the political, as fiery contestations and new curatorial practices reconfigure the meaning of art in the proliferating spaces of museums, galleries, biennales and festivals? How do we understand South Asian art's deep entanglements with the politics of the present?
Rezensionen / Stimmen
'Abandoning conventional analyses of secularism, dominated as they are by the language of law and politics, this superb volume of essays focusses instead on the practices and representations through which it is both manifested and debated in everyday life. In doing so it offers a fresh new approach to the secular as both idea and reality.' Faisal Devji, University of Oxford 'The question mark that hangs from the title of this volume, How Secular Is Art? summons the unsettled field of contestation surrounding secularism in South Asia that continues to torment the region. Bringing together interdisciplinary and cross-border perspectives and engaging with phenomena across the visual field-from festivals, exhibitions, monuments, and architecture to painting, art criticism, and contemporary art-this excellent collection of essays probes the profound ways that the crisis of secularism in South Asia has been uniquely played out in the realm of art and visual culture. It is a passionate, urgent, and timely intervention that raises many crucial questions for the future.' Saloni Mathur, University of California, Los Angeles 'The essays in this volume refresh our conceptions about political and religious art and their mutual relationships in exciting ways. Coming from diverse disciplinary affiliations, they look at iconic and street art, old and new monuments, secular and sectarian visual forms. As they suggest interconnections among several South Asian contexts, and their experiences of the visual and the political, they also enlarge our conceptual understandings of art and politics, faith, and protest. Above all, the essays, in their different ways, add significant new dimensions to long-standing debates and discourses about secularism and secularization. They explore secular-democratic movements against religious intolerance which, nonetheless, are represented within the visual signs and frames of sectarian piety and religious self-designation. By asking what such entanglement means for the various interpretations of secularism, they reconfigure our understanding of the cultural and political histories of contemporary South Asia.' Tanika Sarkar, Jawaharlal Nehru University, New Delhi
Sprache
Verlagsort
Illustrationen
Worked examples or Exercises
ISBN-13
978-1-009-21527-5 (9781009215275)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Tapati Guha-Thakurta was Professor in History at the Centre for Studies in Social Sciences, Calcutta, which she directed from 2012 to 2017. Her work is located within the disciplinary fields of cultural history, history of art and visual studies. She has written widely and taught courses on the themes of art, nationalism and modernity, art history and archaeology, the careers of monuments and museum objects, and popular urban visual culture of modern and contemporary India. Three of her most prominent works are The Making of a New 'Indian' Art: Artists, Aesthetics and Nationalism in Bengal (Cambridge University Press, 1992), Monuments, Objects, Histories: Institutions of Art in Colonial and Postcolonial India (Columbia University Press, and Permanent Black, 2004), and In the Name of the Goddess: The Durga Pujas of Contemporary Kolkata (Primus Books, 2015). Vazira Zamindar is associate professor of history at Brown University, Rhode Island, and her work focuses on decolonization, displacement, war, nonviolence, the visual archive, and contemporary art. She is the author of The Long Partition and the Making of Modern South Asia: Refugees, Boundaries, Histories (Columbia University Press, 2007), and co-editor of Love, War, and Other Longings: Essays on Cinema in Pakistan (Oxford University Press, 2020). She initiated the interdisciplinary forum Art History from the South (2018-20) and collaborates with the Decolonial Initiative on Migration of Objects and People at Brown University.
Herausgeber*in
Centre for Studies in Social Sciences, Calcutta
Brown University, Rhode Island
List of Images; 1. Introduction Tapati Guha-Thakurta and Vazira Zamindar; Part I. Secularity and Its Art: 2. Indian Secularism and Art in a Time of Crisis Akeel Bilgrami; 3. Art and Secularism in Contemporary India: A Question of Method Karin Zitzewitz; 4. In Which Contemporary Indian Iconopraxis Devours Some Sacred Cows of Art History Kajri Jain; Part II. Boundaries of Secular Nationalism: 5. Displacements of Secularity: Decapitations and Their Histories Vazira Zamindar; 6. Modern Art and East Pakistan: Drawing from the Limits Sanjukta Sunderason; 7. Making Place for People? Geeta Kapur, Secular Nationalism, and 'Indian' Art Zehra Jumabhoy; Part III. Art and Its Gods: 8. Shivaji's Portrait and the Practice of Art History Holly Shaffer; 9. Can a Festival of a Goddess Be 'Secular'? Tapati Guha-Thakurta; 10. A Historian among the Goddesses of Modern India Sumathi Ramaswamy; Part IV. Architectures of Devotion: 11. Re-enchanting Mughal Architecture: A Critique of the Secular Disenchantment of India's Past Santhi Kavuri-Bauer; 12. Rebuilding Konarak in the Twentieth Century: Legacies of Colonial Archaeology and Discourses of Inclusivity in Gwalior's Birla Temple Tamara Sears; 13. For the Love of God: Conservation as Devotion in Tamil Nadu Kavita Singh; About the Contributors; Index.
