- Format: Hardcover
- ISBN: 978-1-7849-9254-5
- Pages: 272
- Publisher: Manchester University Press
RRP £80.00, NOW £40.00
- Published Date: June 2017
- BIC Category: Art History, Social & cultural anthropology, History of art, SOCIAL SCIENCE / Violence in Society, RELIGION / General, Gender studies, gender groups, Ethnic studies, Asia, Religion: General, Society & social sciences / Cultural studies, The arts / Films, cinema, Society & social sciences / Sociology, Society & social sciences / Gender studies, gender groups, The arts / History of art / art & design styles, Ethnic Studies, SOCIAL SCIENCE / Ethnic Studies / General, SOCIAL SCIENCE / Sociology / General, ART / Asian, SOCIAL SCIENCE / Gender Studies, SOCIAL SCIENCE / Anthropology / Cultural, Society & social sciences / Violence in society
- Series: Rethinking Art's Histories
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.
'.advances an original , rigorously self-reflexive, and provocative argument for the formulation of a New South Asian Art History conceived through the lens of queer theory and queer subjectivities.'
Margo Machida, Professor Emerita, University of Connecticut
'Wide ranging in his historical and methodological investments, Patel is modelling a new kind of art history, notable less for temporal and/or geographical coherence than for its sophisticated critical approach.'
Jonathan D. Katz, Associate Professor, University at Buffalo, SUNY
'Patel is a person through whose eyes one learns to see anew with one's own.'
Donald Preziosi, Distinguished Research Professor and Professor Emeritus, University of California, Los Angeles
'In his provocative engagement with queer subjectivities, Patel's intervention does not only create new potentialities for the study of South Asian Art, but he also proposes an urgently needed reimagining of art historical methodology.'
Derek Conrad Murray, Associate Professor of Modern and Contemporary Art, University of California, Santa Cruz
'Patel's project calls attention to neglected histories, while simultaneously dismantling the processes of circumscribing identity-based discourses via axiomatic, geographic, and appearance-based methods of determining belonging. At the heart of the book is a desire to call attention to how we each exist in a mobile, intersectional zone at the crux of various identity categories and ideologies. Throughout the text, Patel demonstrates how imperative it is for scholars to articulate our situatedness, not only for the sake of transparency, but because it enriches cross-cultural, interdisciplinary exchange and highlights issues around cultural translation. Patel's reworking of the discursive framing of canon formation is a significant intervention not only within South Asian art, but also for art history, visual studies, and conceptions of identity more broadly. Patel's commitment to transparent, intersectional, hybrid, adaptable, self-reflexive, and critically engaged methods models much-needed interventions into art history, visual studies, and discourses of identity.'
Ace Lehner, Art Journal (Winter 2018)
Alpesh Kantilal Patel is Associate Professor of Contemporary Art and Theory at Florida International University, Miami
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