International connections have shaped the history of Indian modern and contemporary art. In the 1950s the famous Family of Man' exhibition travelled to numerous Indian cities, while in 1967 "Two Decades of American Painting' (also organized by New York's Museum of Modern Art) brought works by Jackson Pollock, Andy Warhol, Robert Rauschenberg and many others to Delhi. This is without mentioning the artworks and buildings conceived across India by artists and creators ranging from Isamu Noguchi to Buckminster Fuller and Roberto Rossellini. In turn, Indian artists and critics actively engaged with and enriched a variety of international art styles and discussions on art, whether it be in the pages of journals such as MARG and Vrisbebik, during residencies in London, Paris and New York, or from their home studios. In the late 1960s and '70s the Triennial India held in Delhi brought together an unprecedented cast of art and artists from across the world and crystallized many of the debates on internationalism in art. Yet few of these are widely known or acknowledged. This book aims to tell the story of the increased movement of art and ideas in and out of India and of the individuals who defined them. At its core is the argument that Indian art cannot be analysed separately from what are usually perceived as foreign or extraneous actors and developments. It therefore seeks to map an internationally reconfigured history of art with Indian artists, critics and patrons at its centre.
Concentrating on the period running from Indian independence in 1947 to the 1980s, I present one possible account of some of the most captivating decades of Indian art. This was a time of impassioned artist tic activity, visionary patronage and discursive energy. In this book, a series of arresting stories focused on artists, art critics, patrons and exhibitions reveals or revisits decisive moments of intense international engagement. They shed light on the entangled history of Indian and international art and help reconcile practices and worldviews that have often been taken to be profoundly different, sometimes even antagonistic. In contrast, I focus both on what is usually described as Indian art as well as on art in India - presenting together for the first time within a coherent narrative works of Indian artists and of foreign artists active in India who participated in common international networks.
This book analyses a range of artists and cultural protagonists, as well as pioneering exhibition practices at a crucial stage of the history of Indian art. The aim is not to cover all actors who deserve mention - many outstanding artists are for reasons of space only briefly introduced - but to provide a spectrum of motivations and expressions. It brings to light unexpected connections, sometimes between well- known Indian and foreign artists, as well as inventive and evolving strategies of internationalization and critical alliances. These are stories of contacts, exchanges and misunderstandings that underpin so many remarkable artworks.
There is no grand national narrative or urge to characterize Indian art here. The canvas is as plural as the artists I discuss and as international as some of the more familiar histories of art. What emerges is not a glorifying tale of foreign creation in India, first-person accounts reveal instances of substantial negotiations with Indian counterparts as well as moments of irritation and discouragement. These include Roberto Rossellini's dramatic escape from the subcontinent before completing the shoot of India: Matri Bhumi and Noguchi not accomplishing a major project in India, despite the influence the country had on him.
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