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Informationen zum Autor Alpesh Kantilal Patel is Associate Professor of Contemporary Art and Theory at Florida International University, Miami Klappentext This book sets out to write new transnational South Asian art histories, making visible the histories of artworks that have been marginalized within the discipline. It does this through a deliberate 'productive failure' - rejecting the dominant genealogical methodology in favour of a more active, performative approach.To investigate what this means for how we 'do' art history, the book considers an array of conventional frames - authorship, subject matter, form - but only as points of departure for exploring artworks and the broader visual culture. It also examines 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history.In effect, the book queers or destabilizes conventional approaches to writing South Asian art histories. It then proceeds to explore alternative forms of art-historical 'writing': autoethnographic narratives relating experiential knowledge of space, curatorial knowledge-making via exhibitions organized by the author, and affective encounters with visual culture.This queering offers a more sited, nuanced and encompassing method for generating art history, one that acknowledges the complex web of factors within which art and its history are produced, as well as the different forms of knowledge-production that can be counted as art history. Zusammenfassung This monograph provides novel methods for writing transnational South Asian art history outside of genealogy. -- . Inhaltsverzeichnis 1 Introduction: Towards creolising transnational South Asian art histories2 Authorship: Anish Kapoor as British/Asian/artist 3 Form: queer zen4 Subject matter: writing as a racial pharmakon5 Space/site: writing queer feminist transnational South Asian art histories6 'Practice-led': producing art, producing art history7 Affect: belongingAfterword: Toward writing indigenous transnational South Asian art historiesIndex...
Sommario
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
