Christopher Pinney Professor of Anthropology and Visual Culture at the University College London and the author of Camera Indica and Photos of the Gods: The Printed Image and Political Struggle in India
will be giving a series of lectures at the
School of Arts and Aesthetics Jawaharlal Nehru University  
February & March 2006. S.A.A. Auditorium

Time 11am to 1pm
All are cordially invited

Lecture schedule

1. The Coming of Photography in India. What theoretical models are most
useful for the understanding of photography's impact in India from 1840
onwards? In addition to  surveying early photographic practice in India the
lecture discusses the usefulness of approaches developed by Adorno,
Benjamin, Tagg and Batchen among others.

2. Photography as Vernacular Practice. Was there/is there a vernacular/
anti-colonial/postcolonial photography? The lecture looks at India
appropriations of photography and different theoretical approaches to this.

3. Picture production and colonial law. Considers the impact of colonial
censorship on the nature of image production between 1880-1947. Looks in
detail at terms of the 1867 and 1910 Press Acts and studies specific
prescription cases to provide a grounded account of the interaction between
artist, publishers and the state.

4. The Rise of Nathdwara. Although Ravi Varma is frequently described as
"the father of calendar art" it is striking that his naturalist mimicry was
largely dislodged by a neo-Mewar style (associated with Nathdvara) form the
late 1920s onwards. How should this transformation be best understood?

5. Picture production from 1950 to the present. The lecture surveys
developments since Independence, focussing on three practitioners: B.G.
Sharma, Yogendra Rastogi and H.R. Raja who represent very different
aesthetics and lineages. Current trends and the state of the market in 2006
will also be addressed.

6. The Political Economy of Gloss. Indian visual culture is often described
as being characterised by "inter-ocularity". This lecture examines the
images deployed in the 2004 national elections and explores resonances
between the images of "India Shining" and film publicity. What implications
does the failure of this campaign have for our conceptualisation of
visuality in contemporary India?



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