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Postcolonial India
Pushpamala N & Navjot
In “Feminist Forms, International Exhibitions, and the Postcolonial Woman Art,” Sonal Khullar writes, “The marginalization in this essay [Marsha Meskimmon’s essay on mapping 1970s feminist art globally] of nonwestern artists, postcolonial artists, and artists of color…suggests a larger structural problem in the way the history of feminist art is narrated in Western museums and classrooms.” What kinds of contextualization does she suggest are necessary for a deeper understanding of the artwork that Geeta Kapur writes about in “Gender Mobility: Through the Lens of Five Women Artists in India”? How can greater contextual knowledge shift our understanding of feminism, of art, and of feminist art?
Does the brief history of women’s moments and feminism in India in Radha Kumar’s introduction to The History of Doing help you understand the work of Pushpamala N. or Navjot in ways you might not have grasped otherwise?
What kinds of interventions is Pushpamala making in her photographic re-performances of various images from the past?What kind of archive is she creating through her use of archival materials?
How do Pushpamala’s artworks explore the idea of performativity?
What do you think is feminist about the collaborative art of Navjot in Bastar? What power dynamics are involved in collaborative art?
T 04.21
Presentation: Nina Bozicnik (Assistant Curator) & Emily Zimmerman (Associate Curator of Programs) of the Henry Art Gallery about Upcoming Exhibits, the Henry’s Collection Study Center, and Feminist Exhibit Making
Radha Kumar, The History of Doing: An Illustrated of Movements for Women’s Rights and Feminism in India, “Introduction”
Sonal Khullar, “Feminist Forms, International Exhibitions, and the Postcolonial Woman Artist,” Journal of the Korean Association for the History of Modern Art
Geeta Kapur, “Gender Mobility: Through the Lens of Five Women Artists in India,” Global Feminisms
Th 04.23
Geeta Kapur, “Navjot Altaf: Holding the Ground,” Asia Art Archive
Grant Kester, The One and the Many: Contemporary Collaborative Art in a Global Context, “The Genius of Place,” 76-95
 Pushpamala N with Clare Arni, Native Women of South India: Manners and Customs: Jayalithaa, manual photographic print on metallic paper, 2002-03 For further viewing:
Beyond the Self: Pushpamala N
Pushpamala N discusses the inspiration for the Abduction series which was on display in the National Portrait Gallery exhibition Beyond the Self.
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