Full Description
This title sets out to write new transnational South Asian art histories - to make visible histories of artworks that remain marginalised within the discipline of art history. However, this is done through a deliberate 'productive failure' - specifically, by not upholding the strictly genealogical approach that is regularly assumed for South Asian art histories. For instance, one chapter explores the abstract work of Cy Twombly and Natvar Bhavsar. The author examines 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history. This book also provides original commentary on how queer theory can deconstruct and provide new approaches for writing art history. Overall, this title provides methods for generating art history that acknowledge the complex web of factors within which art history is produced and the different forms of knowledge-production we might count as art history.
Contents
1 Introduction: Towards creolising transnational South Asian art histories
2 Authorship: Anish Kapoor as British/Asian/artist
3 Form: queer zen
4 Subject matter: writing as a racial pharmakon
5 Space/site: writing queer feminist transnational South Asian art histories
6 'Practice-led': producing art, producing art history
7 Affect: belonging
Afterword: Toward writing indigenous transnational South Asian art histories
Index
