February 26FRANKLIN D. MURPHY LECTURE SERIES - INTERSECTIONS OF IDENTITY: EXPRESSION, EXCHANGE, AND HYBRIDITY ARCHIVE/AGENCY/ARGUMENT: MOBILIZING THE KNOWLEDGE OF COLONIAL INDIA’S ‘NATIVE’ ARTISTS IN ‘GLOBAL’ ART HISTORIES
Presented on the KU Art HIstory YouTube channel at bit.ly/HAtube21
Moods inflected the representation of lands and architecture in profound and intermedial ways across eighteenth-century South Asia and Britain. In charting the aesthetic, epistemic, and political power of the 'moods of a place,' the pictorial experimentations and innovations that take form in the city of Udaipur emerge as a tour de force. Join us as Dipti Khera, Associate Professor, Department of Art History and Institute of Fine Arts, New York University, explores how the artist Ghasi crosses courtly and colonial worlds. As a court artist for Udaipur kings Bhim Singh and Jawan Singh, Ghasi created large-scale artworks featuring moods of plentitude, pleasure, and piousness of urban places and lush frontiers. As the 'native' artist for the British colonial agent James Tod, who was also the first librarian of London's Royal Asiatic Society, he documented numerous temples. Ghasi's drawings, the watercolors by Patrick Waugh, who also traveled with Tod in Rajasthan, and the plates of the engraver Edward Finden, who worked with these artists' illustrations in London, formed Tod's sources for writing the Annals and Antiquities of Rajasthan (1829, 32). When we examine this corpus of topographical images—that sought to affect urbane audiences in deeply emotive ways—against the long history of painted lands, Ghasi's artworks create and confront the worlds and archives critical for decolonizing art histories and aesthetics.
Sponsored By: Department of Visual Art, Kress Foundation Department of Art History, Spencer Museum of Art, Lawrence Arts Center, Lawrence Public Library